Published
FHYA
[Source - Chloe Rushovich for FHYA, 2018, using materials provided by Nessa Leibhammer: Nessa Leibhammer was the curator of the Johannesburg Art Gallery Traditional Collections from 1994 to 1996, and 2005 to 2013. Leibhammer, for the FHYA, identified objects from the Traditional Collections that came from the FHYA target area of KwaZulu-Natal and immediately adjacent regions which she identified as probably dating to the nineteenth and early twentieth centuries. She selected a series of items from the Brenthurst Collection (assembled by Jonathan Lowen); the Horstmann Collection (assembled by Udo Horstmann); the Maritz Collection (assembled by Nicholas Maritz); the Brodie Collection (assembled by Mordechai Brodie); the Karner Collection (assembled by Ken Karner) as well as items owned by the Jaques family, purchased by JAG in 1987. The selection includes a range of genre: carved wooden objects, metal and beadwork items, staffs, snuff boxes, headrests, vessels, baskets, pots, etc. She also purposefully selected objects where she knew there were similar examples in other, older, collections as well as notable items where no secure information is known, so as to open the possibility that such items might accrue an information context through appearing on the FHYA exemplar.
The FHYA ordered this material into ‘series’ with each ‘series’ being named after the collector.]
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: The FHYA selection from the Traditional Collection at the Johannesburg Art Gallery was made by Nessa Leibhammer. She selected objects from the Traditional Collections that came from the FHYA target area of KwaZulu-Natal and immediately adjacent regions which she identified as probably dating to the nineteenth and early twentieth centuries.
The Traditional Collections were inaugurated by Christopher Till (head of the gallery 1983-1991) and in 1987, the gallery began acquiring material culture exclusively from the southern African region for this collection. The Traditional Collection comprises some 2500 mostly wooden and beadwork items, dating from the mid-19th century to the late 20th century. It includes accoutrements of daily use, as well as objects of a ceremonial, prestige or chiefly nature. It also includes beadwork worn by men, women, and children; bracelets; bangles; capes; shawls; skirts; headgear; and waistcoats. Objects of domestic use in the collection include ceramic vessels, carved wooden milk pails, spoons and platters, woven fibre baskets and reed and grass mats. JAG does not collect weapons or archaeological material unless they manifest what curators consider a high aesthetic standard. The gallery seeks particularly to acquire objects that manifest anthropomorphic or zoomorphic attributes as these align themselves with western sculptural genres - animated by the presence of a ‘being’ - be it human or animal. These are features that attempt to bring the collection closer to Fine Art and away from the topological, ethnographic mode which values multiple assemblies of a single type without a concern for aesthetics. Thus the gallery does not collect multiple samples of the same type of object since its focus, in line with an ‘art’ genre, is the single unique object. These carefully considered selections, exclusions and inclusions, have shaped the nature of what is considered ‘traditional’ at JAG. The first set of objects purchased by JAG was a collection of 114 headrests, part of a larger collection assembled by the Suisse Romande missionary, Reverend A. A. Jaques. These objects came mainly from the southern Mozambique region, as well as what was known as the eastern and north-eastern Transvaal (now Mpumalanga and Limpopo Provinces) and were purchased in 1987. Also in 1987, JAG’s holdings of southern African material culture were further augmented when the Brenthurst Collection, containing 862 items of southern African art, was placed on long-term loan at the institution. In 1992, the Horstmann Collection, totalling 93 objects, was acquired. In 2013, the JAG purchased 138 nineteenth- and early twentieth-century pieces from Professor Nicholas Maritz. These objects were classified by Maritz as ‘Northern Nguni’. Much of the Maritz collection was assembled by Jonathan Lowen in England and Europe, as was the entirety of the Brenthurst Collection.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: The FHYA selection of the items within the Brenthurst Collection was made by Nessa Leibhammer, who curated the Traditional Collections from 1994 to 1996, and then again from 2005 to 2013. This selection currently contains 16 items, and their associated material, which Leibhammer identified as probably dating to the nineteenth and early twentieth centuries, and as coming from the FHYA target area of KwaZulu-Natal and immediately adjacent regions.]
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG]
[Source - Chloe Rushovich for FHYA, 2018, using materials provided by Nessa Leibhammer: The Brenthurst Collection is housed on long-term loan in the Traditional Collections in JAG. The collection was assembled by Jonathan Lowen from auction houses, dealers, and flea markets in Europe and England. The collection was placed on long-term loan at the Johannesburg Art Gallery from the Brenthurst Library in 1987. The Brenthurst Collection is housed within the Traditional Collections in the JAG. The collection was exhibited at the JAG in 1991, the first time a comprehensive collection of southern African material had ever been seen together. The catalogue ‘Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art’ was published to coincide with the exhibition. Because the Brenthurst Collection does not belong to JAG the collection does not appear in any accession register of the institution. This catalogue was the first complete listing of the collection. Subsequent to this the collection was entered onto the City of Johannesburg (CoJ) Star database using the Brenthurst Catalogue as the reference.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object and it's associated material at JAG, identified by Nessa Leibhammer using JAG materials as a 'male figure and female figure' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.]
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Male figure (companion to cat 24?); wood, seed; 20, l x 5,2 x 4.6; Tsonga/North Nguni, Natal; JL-A-23 (Fig. 20). Female figure (companion to cat 23?) wood, seed; 18,3 x 6 x 6,3; Tsonga/North Nguni, Natal; JL-A-24 (Fig. 20)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Male figure, Tsonga/Northern Nguni; Female figure, Tsonga/Northern Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Male figure (companion to cat 24?); wood, seed; 20, l x 5,2 x 4.6; Tsonga/North Nguni, Natal; JL-A-23 (Fig. 20). Female figure (companion to cat 23?) wood, seed; 18,3 x 6 x 6,3; Tsonga/North Nguni, Natal; JL-A-24 (Fig. 20)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Male figure, Tsonga/Northern Nguni; Female figure, Tsonga/Northern Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Male figure (companion to cat 24?); wood, seed; 20, l x 5,2 x 4.6; Tsonga/North Nguni, Natal; JL-A-23 (Fig. 20). Female figure (companion to cat 23?) wood, seed; 18,3 x 6 x 6,3; Tsonga/North Nguni, Natal; JL-A-24 (Fig. 20)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Male figure, Tsonga/Northern Nguni; Female figure, Tsonga/Northern Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Male figure (companion to cat 24?); wood, seed; 20, l x 5,2 x 4.6; Tsonga/North Nguni, Natal; JL-A-23 (Fig. 20). Female figure (companion to cat 23?) wood, seed; 18,3 x 6 x 6,3; Tsonga/North Nguni, Natal; JL-A-24 (Fig. 20)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Male figure, Tsonga/Northern Nguni; Female figure, Tsonga/Northern Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Male figure (companion to cat 24?); wood, seed; 20, l x 5,2 x 4.6; Tsonga/North Nguni, Natal; JL-A-23 (Fig. 20). Female figure (companion to cat 23?) wood, seed; 18,3 x 6 x 6,3; Tsonga/North Nguni, Natal; JL-A-24 (Fig. 20)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Male figure, Tsonga/Northern Nguni; Female figure, Tsonga/Northern Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transciption
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - A - 23 & A 24
MALE AND FEMALE FIGURES: Wooden, the man carved wearing a head-ring and belt, the woman with conival head-dress wearing a skirt, and carrying a baby on her back. The eyes are Abrus precatorius seeds.
Ht: (man) 20.2 cms; Ht: (woman) 17.9 cms; [NINGUNI [sic]/TSONGA; C(. Sothebys (New York); 2.12.1983 #160
from PITT RIVERS collections in similar style.] (handwritten annotation)
Published
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.) The catalogue cards were made by Brenthurst and bear annotations added later.
The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, went with the Brenthurst collection to the Johannesburg Art Gallery. They were kept by Nessa Leibhammer in her office during her time as curator at the JAG.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transciption
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - A - 23 & A 24
[Ref: Sim [sic] to a pair in the British Museum (Mankind) which was given by T. Shepstone’s daughter collected by her father in Natal, said to be by a carver/artist called Hunuzaan - (Made for sale to Europeans: illustrative of “Native types")] (handwritten annotation)
Published
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.) The catalogue cards were made by Brenthurst and bear annotations added later.
The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, went with the Brenthurst collection to the Johannesburg Art Gallery. They were kept by Nessa Leibhammer in her office during her time as curator at the JAG.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'staff' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.]
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Staff; wood, pokerwork; 120.5 x4,1 x 7,5; Tsonga/ North Nguni; JL-C-23 (Pl. 2)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Staff, Tsonga/Northern Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Staff; wood, pokerwork; 120.5 x4,1 x 7,5; Tsonga/ North Nguni; JL-C-23 (Pl. 2)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Staff, Tsonga/Northern Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Staff; wood, pokerwork; 120.5 x4,1 x 7,5; Tsonga/ North Nguni; JL-C-23 (Pl. 2)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Staff, Tsonga/Northern Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Debra Pryor for FHYA, 2020, using Brenthurst catalogue card: JL - C - 23
STAFF: Wooden, the top carved as a woman with a child on her back and carrying an outsize hen on her head,
with pokerwork contrast.
L: 120.3 cms Ht: (of figure) 31.9 cms
(ZULU)]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.) The catalogue cards were made by Brenthurst and bear annotations added later.
The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, went with the Brenthurst collection to the Johannesburg Art Gallery. They were kept by Nessa Leibhammer in her office during her time as curator at the JAG.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Debra Pryor for FHYA, 2020, using Brenthurst catalogue card: JL - C - 23
STAFF: Wooden, the top carved as a woman with a child on her back and carrying an outsize hen on her head,
with pokerwork contrast.
L: 120.3 cms Ht: (of figure) 31.9 cms
(ZULU)]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.) The catalogue cards were made by Brenthurst and bear annotations added later.
The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, went with the Brenthurst collection to the Johannesburg Art Gallery. They were kept by Nessa Leibhammer in her office during her time as curator at the JAG.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'headrest' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.]
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Headrest; wood, pokerwork; 14,6 x 36,3 x 8,2; Swazi/North Nguni; JL-E-43 (Pl. 33)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Headrest, Tsonga/North Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Headrest; wood, pokerwork; 14,6 x 36,3 x 8,2; Swazi/North Nguni; JL-E-43 (Pl. 33)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Headrest, Tsonga/North Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019: Redacted paper label with string attached, accompanying the Brenthurst collection which was purchased from Jonathan Lowen by Harry Oppenheimer, and placed on long term loan with the Johannesburg Art Gallery in 1987.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Debra Pryor for FHYA, 2020, using Brenthurst catalogue card: JL - E - 43
HEADREST: Wooden, with two pairs of legs carved in the form of open rectangles (like JL-E-42) which are grooved on the outward-facing surfaces. The outer surfaces of the pillow and legs are darkened with pokerwork; W: 36. 7 cms; Ht: 15.1 cms; (SWAZI)[/ZULU] (handwritten annotation); See Phillips no 163: exhibited 1979]
Published
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.) The catalogue cards were made by Brenthurst and bear annotations added later.
The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, went with the Brenthurst collection to the Johannesburg Art Gallery. They were kept by Nessa Leibhammer in her office during her time as curator at the JAG.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'headrest' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Headrest; wood, pokerwork; 15,6 x 43,2 x 6,3; North Nguni, Natal Chiefdoms; produced for the tourist trade; JL-E-48 (Fig. 11)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Headrest, North Nguni/Natal chiefdoms produced for the tourist trade]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Headrest; wood, pokerwork; 15,6 x 43,2 x 6,3; North Nguni, Natal Chiefdoms; produced for the tourist trade; JL-E-48 (Fig. 11)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Headrest, North Nguni/Natal chiefdoms produced for the tourist trade]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Headrest; wood, pokerwork; 15,6 x 43,2 x 6,3; North Nguni, Natal Chiefdoms; produced for the tourist trade; JL-E-48 (Fig. 11)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Headrest, North Nguni/Natal chiefdoms produced for the tourist trade]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019: Redacted paper label with string attached, accompanying the Brenthurst collection which was purchased from Jonathan Lowen by Harry Oppenheimer, and placed on long term loan with the Johannesburg Art Gallery in 1987.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - E - 48
HEADREST: Wooden, double, the two shaped pillows on an openwork base composed of two pairs of staggered legs flanking a centre with a rectangular cavity which is topped by two truncated cones. Most of the vertical surfaces are darkened by pokerwork contrasting with rows of recessed triangles.
W: 43.7cms Ht: 16 cms
(ZULU)
cf. Grossert, fig 17e: double for married people. N. Nguni Natal chiefdoms (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'headrest' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Headrest; wood, pokerwork, glass (seed-beads); 18 x 25,5 x 10,4; Tsongo/North Nguni; JL-E-62 (Fig. 46)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Headrest, Tsonga/North Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019: Redacted paper label with string attached, accompanying the Brenthurst collection which was purchased from Jonathan Lowen by Harry Oppenheimer, and placed on long term loan with the Johannesburg Art Gallery in 1987.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - E - 62
HEADREST: Wooden, of similar shape to JL-E-60 & E-61, and similarly decorated with recessed triangles to E-61. in addition, the lugs, the outer sides of the ring and the short ends of the base are decorated with inlaid white glass seed-beads. The surface has mostly been darkened with pokerwork.
Ht: 18.2 cms W: 25.2 cms
(SHANGAAN) N Nguni/Tsonga (handwritten annotation)
Decoration with inlaid white glassseed-beads is typically Thonga (Shangaan) cf. Junod p. 131; Siber p. 201.
JL-L1+2 JL-C7 for related pieces (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - E - 62 (back view)
Also cf. JL-L1 &L2; JL-C7 for other beaded SHANGAAN/THONGA pieces.]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'smoking-pipe' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Smoking-pipe; wood, pokerwork, sinew, glass (seed-beads), metal; bowl: 20,2 x 3,2 x 8,3; length: 34,8; South Sotho/South Nguni; JL-F-51]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Smoking-pipe, South Sotho/South Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Smoking-pipe; wood, pokerwork, sinew, glass (seed-beads), metal; bowl: 20,2 x 3,2 x 8,3; length: 34,8; South Sotho/South Nguni; JL-F-51]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Smoking-pipe, South Sotho/South Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Smoking-pipe; wood, pokerwork, sinew, glass (seed-beads), metal; bowl: 20,2 x 3,2 x 8,3; length: 34,8; South Sotho/South Nguni; JL-F-51]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Smoking-pipe, South Sotho/South Nguni]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - E - 51 (front view)
TOBACCO-PIPE: Wooden, carved in a similar way to JL - F 50 to represent a seated man wearing a necklet of blue and white beads. The man’s head which is a stopper, is joined to the stem by a string of black and white beads the pipe bowl is metal-lined. The man’s hair and beard are darkened with pokerwork; the eyes are black beads.
L (overall) 34.8 cms L (of figure with head) 19.9 cms
(SOTHO) S.Nguni/S.Sotho (handwritten annotation)
For comment see JL-F 50
PICTURE SEE JL-F 52]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - E - 51 (back view)
TOBACCO-PIPE: Wooden, carved by the same hand that carved JL -F 51. in the form of a woman wearing a waist-band and apron of black and white glass seed-beads and a necklet of the same like that of JL-F 51. The head is attached to the pipe stem by a string of black and white beads; there are brass hoop earrings.
L (overall) 36.8 cms L (of figure with head) 21 cms
(SOTHO) S.Nguni/S.Sotho (handwritten annotation)
For comment see JL-F 50]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'snuff-box' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-box; gourd, thread, glass (seed-beads); 10,5 x 7 x 7; North Nguni/South Sotho/South
Nguni; JL-G-80]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 10,5 x 7 x 7 Material: Gourd, thread, glass (seed beads)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-box]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - G - 80
SNUFF-BOX: Gourd, covered with white black green and red beads, with a bead carrying loop and stopper covered with green and red beads.
Ht: (overall) 10.6 cms Ht: (without stopper) 9.4 cms Di 7 cms
(ZULU) N./S. Nguni/S. Sotho (handwritten annotation)
cf. Ann. S.A. Mus XXIV, v, pl. LWV.
Those are Pondomisi, Tsolo district, Transkei, but the green beads indicate Zulu rather than Pondo.
Snuff box, Fringe S NGUNI, bottom rest not N TRANSKEI
S NATAL area (poss this century, early part) (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'snuff-spoon' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 17,4 x 4,1 x 0,6; North Nguni; JL·H-1; (Fig. 114)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 17,4 x 4,1 x 0,6; North Nguni; JL·H-1; (Fig. 114)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 1
SNUFF-SPOON: Bone, with four prongs and three almond-shaped bowls on a C-shaped finial decorated with chevrons coloured black.
L: 17.1 cms W: 4.1 cms
(ZULU) N Nguni (handwritten annotation) cf. Grossert, p. 13; Ann. S.A. Mus. vol 70 pt. 2 fig 29]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'snuff-spoon' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 15,5 x 1,6 x 0,5; North Nguni/South Nguni; JL-H-7]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 15.5 x 1,6 x 0,5 Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 15,5 x 1,6 x 0,5; North Nguni/South Nguni; JL-H-7]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 15.5 x 1,6 x 0,5 Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 7 & 8
SNUFF-SPOONS: Bone, with almond-shaped bowls and handles ending in seat-scraper. H 7 is decorated with incised pattern in red and black; H 8 is in black only.
JL-H-7 L: 15.5 cms
JL-H-* L: 17.2 cms
(CAPE NGUNI or TRANSKEI)
cf. Ann. S.A. Mus vol 70 pt. 2 fig. 8
N/S Nguni (AN + RB) (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'snuff-spoon' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 17,3 x 1,8 x 0,5; North Nguni/South Nguni; JL-H-8]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 17,3 x 1,8 x 0,5 Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 17,3 x 1,8 x 0,5; North Nguni/South Nguni; JL-H-8]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 17,3 x 1,8 x 0,5 Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 17,3 x 1,8 x 0,5; North Nguni/South Nguni; JL-H-8]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 17,3 x 1,8 x 0,5 Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 7 & 8
SNUFF-SPOONS: Bone, with almond-shaped bowls and handles ending in seat-scraper. H 7 is decorated with incised pattern in red and black; H 8 is in black only.
JL-H-7 L: 15.5 cms
JL-H-* L: 17.2 cms
(CAPE NGUNI or TRANSKEI)
cf. Ann. S.A. Mus vol 70 pt. 2 fig. 8
N/S Nguni (AN + RB) (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'snuff-spoon' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 15,6 x 1,8 x 0,6; North Nguni/South Nguni; JL-H-9]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 15,6 x 1,8 x 0,6 cm Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 15,6 x 1,8 x 0,6; North Nguni/South Nguni; JL-H-9]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 15,6 x 1,8 x 0,6 cm Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 9 & 10
SNUFF-SPOONS: Bone, similar to JL - H - 8, with almond-shaped bowls and sweat-scraper handles with black incised ornament.
JL-H-9 L: 15.5 cms
JL-H-10 L: 10.9 cms
(CAPE NGUNI or TRANSKEI)
cf. Ann. S.A. Mus. vol 70 pt. 2 fig. 8
PICTURE SEE JL - H - 7+8
S/N Nguni (AN + RB) (handwritten annotation)
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 7 & 8
SNUFF-SPOONS: Bone, with almond-shaped bowls and handles ending in seat-scraper. H 7 is decorated with incised pattern in red and black; H 8 is in black only.
JL-H-7 L: 15.5 cms
JL-H-* L: 17.2 cms
(CAPE NGUNI or TRANSKEI)
cf. Ann. S.A. Mus vol 70 pt. 2 fig. 8
N/S Nguni (AN + RB) (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'snuff-spoon' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment, 11 x 1,9 x 0,6; North Nguni/South Nguni; JL-H-10]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 11 x 1,9 x 0,6 cm Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment, 11 x 1,9 x 0,6; North Nguni/South Nguni; JL-H-10]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 11 x 1,9 x 0,6 cm Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 9 & 10
SNUFF-SPOONS: Bone, similar to JL - H - 8, with almond-shaped bowls and sweat-scraper handles with black incised ornament.
JL-H-9 L: 15.5 cms
JL-H-10 L: 10.9 cms
(CAPE NGUNI or TRANSKEI)
cf. Ann. S.A. Mus. vol 70 pt. 2 fig. 8
PICTURE SEE JL - H - 7+8
S/N Nguni (AN + RB) (handwritten annotation)
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 7 & 8
SNUFF-SPOONS: Bone, with almond-shaped bowls and handles ending in seat-scraper. H 7 is decorated with incised pattern in red and black; H 8 is in black only.
JL-H-7 L: 15.5 cms
JL-H-* L: 17.2 cms
(CAPE NGUNI or TRANSKEI)
cf. Ann. S.A. Mus vol 70 pt. 2 fig. 8
N/S Nguni (AN + RB) (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Spoon; wood; 29,5 x 4,6 x 3,1; North Nguni; JL-N-11 (Pl. 3)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Spoon; wood; 29,5 x 4,6 x 3,1; North Nguni; JL-N-11 (Pl. 3)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - N - 11
SPOON: Wooden, with small deep round bowl, the handle ridged like the bellows of a concertina, patinated rich brown.
L: 29.5 cms.
N. Nguni AN + RB
ZULU (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'club' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Club; wood, brass (wire), copper (wire), iron (wire); 59,1 x 8.7 x 8.7; Southern Africa; JL-R-1]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 59,1 x 8,7 x 8,7 cm Material: wood, brass (wire), copper (wire), iron (wire)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Club]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'club' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Club; wood, horn, 62,5 x 10 x 10; North Nguni; JL-R-6 (Pl. 4)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Club]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Club; wood, horn, 62,5 x 10 x 10; North Nguni; JL-R-6 (Pl. 4)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Club]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - R - 6
CLUB: Wooden, with a heavy spherical head with a band of rectangular raised pyramids (amasumpa). The head has been hollowed, probably to serve as a snuff-container, one hold is left unplugged, the other, at the top of the head, has a permanent, domed horn plug.
L: 62 cms
(ZULU)
cf. JL-C-60
N NGUNI (RB + AN) (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'club' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Club; wood; 66,9 x 8,8 x 8,8; Southern Africa; JL-R-18]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 66,9 x 8,8 x 8,8 cm Material: wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Club]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Club; wood; 66,9 x 8,8 x 8,8; Southern Africa; JL-R-18]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 66,9 x 8,8 x 8,8 cm Material: wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Club]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - R - 18
(Handwritten catalogue card)
Zulu Knobkerrie
Southern Africa (RB + AN)
655mm]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'club' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Club; wood, brass (wire), iron (wire); 59,6 x 7,2 x 7,2; Southern Africa; JL-R-48]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 66,9 x 8,8 x 8,8 cm Material: wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Club]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Club; wood, brass (wire), iron (wire); 59,6 x 7,2 x 7,2; Southern Africa; JL-R-48]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 66,9 x 8,8 x 8,8 cm Material: wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Club]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - R - 48
(Handwritten catalogue card)
Zulu Club “were decoration”
Southern Africa AN/RB
590mm]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'beadwork' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; textile, sinew, thread, glass (seed-beads); 63,3 x 21,5 x 1,5; bag: 16,8; North Nguni, Natal chiefdoms; JL-U-8 (Pl. 14)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; textile, sinew, thread, glass (seed-beads); 63,3 x 21,5 x 1,5; bag: 16,8; North Nguni, Natal chiefdoms; JL-U-8 (Pl. 14)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019: Redacted paper label with string attached, accompanying the Brenthurst collection which was purchased from Jonathan Lowen by Harry Oppenheimer, and placed on long term loan with the Johannesburg Art Gallery in 1987.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019: Redacted paper label with string attached, accompanying the Brenthurst collection which was purchased from Jonathan Lowen by Harry Oppenheimer, and placed on long term loan with the Johannesburg Art Gallery in 1987.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 8 (front view)
BEADWORK ORNAMENT:
Bag, cotton covered with green, pink, black, red and white glass seed beads on a bead-covered rope loop predominantly green and pink. There are three small bead fastening loops and “buttons”.
L: (overall) 63.5 cms
H: (pf bag) 7.3 cms
W: (of bag) 21.8 cms
(ZULU)
The Zulu have a particular liking for green beads.
N. Nguni, Nala chiefdoms (JAG) Possibly 19th century, similar to pieces obtained at St Hildas Mission Station near Ladysmith, now in the Hormman museum (now 24 - 5.66 and 5.239) (SK) (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 8 (back view)
23 - 26 March 2012 to APC Wkshop, Origins Centre, Wits University (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'beadwork' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; textile (rolled), sinew, thread, brass (buttons), glass (seed-beads); Double: 19,8 x 24; extended: 89,6; North Nguni, Natal chiefdoms?; JL-U-8 (Pl. 38)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 14 (front view)
BEADWORK: Panels of seed-beads one in rectangles of blue, white pink and yellow; the other white with a red lozenge outline and small green lozenge: both attached to tripe rope of red-bead covered fabric linked by triple bands of blue, pink and red beads with larger red beads and conical brass buttons.
L: (overall) 90 cams
W (of panels) 17 cms, 12 cms
(NGUNI)
Worn around the waist.
N Nguni Zululand - Natal (SK - can’t be more specific) late 19th - early 20th century (p.7.0) (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 14 (back view)
Form (Umutssha) S. NATAL 19th century mixed conical and round glass beads
(Drawn diagram depicting object)
23 - 26 March 2012 to APC Wkshop, Origins Center, Wits University]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'beadwork' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; sinew, thread, glass (seed-beads), brass (buttons) stone (button); 45,6 x 21,5 x 0,5; panel: 28,9 x 18; North Nguni, Natal chiefdoms?; JL-U-17]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 17 (front view)
BEADWORK: Rectangular panel of triangular motifs in blue, black red and grey on a white ground bordered in blue, black, yellow and red, on two straps, lozenge and triangle pattered in the same colours with conical brass button fastening to wear round the neck.
L: (of panel) 28 cms
W: (of panel) 18 cms
(NGUNI, probably ZULU)
Like a number o pieces in the A. Gron collection, probably from the area around his mission station at Umvoti in Natal. (SK)
Probably 19th C, probably Natal N Nguni, natal chiefdoms?]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 17 (back view)
PROB BHACA (NATAL - S across border into Transkei)
23 - 26 March 2012 to APC Wkshop, Origins Center, Wits University]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'beadwork' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; glass (seed-beads), brass (button) 46,5 x 15,1 x 0,4; panel: 28 x 9,5; North Nguni, Natal chiefdoms?; JL-U-19]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 19 (front view)
BEADWORK: Rectangular panel of blue, bordered with white red and pink seed-beads with central motif of linked trailed in white, with red black and green lozenges. Mounted on a necklet with four colours and similar style.
L: (of panel) 28 cms
W: (of panel) 9.5 cms
(NGUNI, probably ZULU) Probably Natal. N. Nguni Natal Chiefdoms? Like Grant picers. Probably 19th century, probably Natal. See also some of Argus’prints to people in Natal. He was in close contact with the Umvoti mission - (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 19 (back view)
areas. Although he implies that some of King Mpande’s dancing girls also work red/blue/white beads, the association of these colours with Natal (in the mid-nineteenth century but also now, in the Tugela ferry regions) is confirmed by Bishop Colenso in Ten Weeks in Natal (1855).
Prob more north Natal, either N/S. (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'beadwork' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; sinew, glass (seed-beads), brass (button); extended: 36,8 x 6,2 x 0,6; North Nguni, Natal chiefdoms?; JL-U-42]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; sinew, glass (seed-beads), brass (button); extended: 36,8 x 6,2 x 0,6; North Nguni, Natal chiefdoms?; JL-U-42]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 42 (front view)
BEADWORK ORNAMENT: Four panels of black green and white seed-beads of the larger size, with red and blue beads forming the lower edge and attached to a band of single-width pink beads.
L: (overall, excluding brass button) 35.5 cms
[ZULU] Probably 19th century
See comment JL - U - 8
N Nguni Natal chiefdoms (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 42 (back view)
23 - 26 March 2012 to APC wkshop, Origins Center, Wits University (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'beadwork' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; fibre, textile, thread, glass (seed-beads), brass (button); 56,8 x 28,8 x 1,9; girdle: 101; purse: 13,2; North Nguni, Natal chiefdoms?; JL-U-88]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 88 (front view)
BEADWORK ORNAMENT: Cylindrical section girdle covered with a continuous strand of glass seed-beads, mostly white and pink, with narrow bands in blue, yellow, red and black. A purse of coarsely-woven whitish fabric is attached to this; it is covered with honeycomb strung beadwork in rectangular panels of yellow and white, fastened with conical brass buttons, and edged with pink beads.
L: (of purse) 13.2 cms
W: (of purse) 15 cms
L: (of girdle) 98 cms
N Nguni Natal chiefdoms ZULU
Ixapo area (S Natal) Richmond
Brace, Hlubi (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 88 (back view)
23 - 26 March 2012 to APC wks hop, Origins Center, Wits University (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains objects identified by Nessa Leibhammer using JAG materials as a 'beadwork' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; textile, sinew, glass (seed-beads), brass (buttons); 12,2 x 12,1 x 7; North Nguni, Natal chiefdoms; JL-U-166 (Fig. 93)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Beadwork; textile, sinew, glass (seed-beads), brass (buttons); 12,2 x 12,1 x 7; North Nguni, Natal chiefdoms; JL-U-166 (Fig. 93)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Beadwork]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
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https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - U - 166
BEADWORK ORNAMENT: Leglet consisting of ten cylindrical rolls of cloth covered on the outer side with white blue and black glass seed-beads. Red and yellow beads serve as linking vertical bands, and there are ten conical brass buttons for fastening.
Ht: 12 cms
W: 10.8 cms
ZULU
Probably Natal
No Nguni, Natal chiefdoms (handwritten annotation)]
Published
[Source – Nessa Leibhammer for FHYA 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: The Johannesburg Art Gallery purchased 532 pieces, predominantly beadwork, from Mordechai Brodie in the latter part of 1994. This selection comprises 1 item, and associated material, which Leibhammer identified as probably dating to the nineteenth and early twentieth centuries, and as coming from the FHYA target area of KwaZulu-Natal and immediately adjacent regions. Leibhammer further selected this item because there was an image of the object readily available.]
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: In the 1980s and early 1990s Mordechai Brodie owned a shop called African Magic, in which he sold items from southern Africa, many of which he collected himself. He offered what he deemed to be the more important traditional pieces to museums and university collections, including the Johannesburg Art Gallery.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2017. File contains an object identified by JAG as a 'beer skimmer (isikheto)' acquired by JAG from Mordechai Brodie.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1995 indicates year of accession; 2 is the number of the specific batch in which this item was part; 143 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Beer skimmer (isikheto), Zulu; Material: grass]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: JAG accessioned the item as Zulu according to Brodie’s classification.
In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Beer skimmer (isikheto), Zulu; Material: grass]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: JAG accessioned the item as Zulu according to Brodie’s classification.
In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: In 1987, the Johannesburg Art Gallery purchased a selection of 114 items from Reverend A. A. Jaques’ headrest collection. The FHYA selection of the items within the Jaques Collection was made by Nessa Leibhammer, who curated the Traditional Collections from 1994 to 1996, and then again from 2005 to 2013. This selection comprises 1 item, and associated material, which Leibhammer identified as probably dating to the nineteenth and early twentieth centuries, and as coming from the FHYA target area of KwaZulu-Natal and immediately adjacent regions. Leibhammer further selected this item because there was an image of the object readily available.]
[Source - Nessa Leibhammer for FHYA, 2015, using JAG materials: Accession number given by JAG on acquisition: 1987 indicates year of accession; 3 is the number of the specific batch in which this item was part; 8 is the item number of the object in the batch. Museum Africa accession number was 50/900. See page 98 of Wanless A. 1985. ‘Headrests in the Africana Museum.’ Part 2. Africana Notes and News, Vol. 26 No. 7 pp. 293 - 294. Pietermaritzburg, Natal: The Natal Witness.]
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: Reverend A. A. Jaques of the Swiss Mission in South Africa, was stationed in the Eastern Transvaal from 1921 to 1937, and, thereafter, became the head of the Lemana Training College in the Northern Transvaal. He died in Switzerland in 1949. His headrest collection was made during his stay in the Transvaal. From 1951 a collection of these headrests owned by the Jaques family was placed on loan to Museum Africa, housed within its ethnographic collection. The Jaques Collection is housed within the Traditional Collections in the JAG.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'headrest', and its associated object tags and catalogue card.]
[Source - Nessa Leibhammer for FHYA, 2015, using JAG materials: Accession number given by JAG on acquisition: 1987 indicates year of accession; 3 is the number of the specific batch in which this item was part; 8 is the item number of the object in the batch. Museum Africa accession number was 50/900. See page 98 of Wanless A. 1985. ‘Headrests in the Africana Museum.’ Part 2. Africana Notes and News, Vol. 26 No. 7 pp. 293 - 294. Pietermaritzburg, Natal: The Natal Witness.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG catalogue card, 2015: JAG Description: 1987.03.08, Swazi, Headrest, Wood; Material: Wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: This headrest shows a cross over style – with elements of Swazi and Tsonga/Shangaan. Mrs.L. Jaques, widow of the collector, stated that this piece shows Arabic influence (Wanless 1988: 98)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG catalogue card, 2015: JAG Description: 1987.03.08, Swazi, Headrest, Wood; Material: Wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: This headrest shows a cross over style – with elements of Swazi and Tsonga/Shangaan. Mrs.L. Jaques, widow of the collector, stated that this piece shows Arabic influence (Wanless 1988: 98)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG catalogue card, 2015: JAG Description: 1987.03.08, Swazi, Headrest, Wood; Material: Wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: This headrest shows a cross over style – with elements of Swazi and Tsonga/Shangaan. Mrs.L. Jaques, widow of the collector, stated that this piece shows Arabic influence (Wanless 1988: 98)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Cover of '11/1B Vol 1 Jaques Collection'. To view the full record click on the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/11-1b-vol-1-jaques-collection
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Cover of Jaques Headrest General File'. To view the full record click on the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/headrest-general-file
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Contains pages from an Art Gallery Management Committee Meeting dated 1987/03/30, in which the Chairman authorises the purchase of the Jacques collection of 114 neckrests through the Anglo American Centenary Trust. The collection had been on loan to the Africana Museum since 1951.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Contains cover of Annual Report 1986/1987 file and a short piece about JAG's acquisition of the Jaques Collection of headrests.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: In 1992, Udo Horstmann sold 26 objects from southern African to the Johannesburg Art Gallery, donating a further 67 items as part of the transaction. A few years later, he further donated a number of other items to JAG. The FHYA selection of the items within the Horstmann Collection was made by Nessa Leibhammer, who curated the Traditional Collections from 1994 to 1996, and then again from 2005 to 2013. This selection contains 8 items, and their associated material, which Leibhammer identified as probably dating to the nineteenth and early twentieth centuries, and as coming from the FHYA target area of KwaZulu-Natal and immediately adjacent regions. Leibhammer further selected items within these criteria for which images were readily available.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: the year indicates year of accession; the following numeral is the number of the specific batch in which this item was part; and the last numeral(s) indicate the item number of the object in the batch.]
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: Udo Horstmann sourced objects from private collectors, dealers, auctions, and curio shops in South Africa, Britain, Europe and the USA. The Horstmann Collection is housed in the Traditional Collections in the Johannesburg Art Gallery.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'stool' acquired by JAG from Udo Horstmann, as well as an object tag, an archive file, and an accession register page.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on acquisition: 1992 indicates year of accession; 11 is the number of the specific batch in which this item was part; 1 is the item number of the objects in the batch. The illustration number of the item is in the catalogue The Horstmann Collection of Southern African Art published by the Johannesburg Art Gallery is 23.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Stool, Northern Nguni, 19th Century; Dimensions: 24,5 x 53,5 x 25,5 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from New York African art dealer Merton Simpson (September 20, 1928 – March 9, 2013) an American abstract expressionist painter and African and tribal art collector and dealer (see http://en.wikipedia.org/wiki/Merton_Simpson). Simpson had two - the other was bought by Jeff Last of Los Angeles. (Information provided by Udo Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Stool, Northern Nguni, 19th Century; Dimensions: 24,5 x 53,5 x 25,5 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from New York African art dealer Merton Simpson (September 20, 1928 – March 9, 2013) an American abstract expressionist painter and African and tribal art collector and dealer (see http://en.wikipedia.org/wiki/Merton_Simpson). Simpson had two - the other was bought by Jeff Last of Los Angeles. (Information provided by Udo Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Stool, Northern Nguni, 19th Century; Dimensions: 24,5 x 53,5 x 25,5 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from New York African art dealer Merton Simpson (September 20, 1928 – March 9, 2013) an American abstract expressionist painter and African and tribal art collector and dealer (see http://en.wikipedia.org/wiki/Merton_Simpson). Simpson had two - the other was bought by Jeff Last of Los Angeles. (Information provided by Udo Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'staff' acquired by JAG from Udo Horstmann, as well as an archive file, and an accession register page.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on acquisition: 1992 indicates year of accession; 11 is the number of the specific batch in which this item was part; 1 is the item number of the objects in the batch. The illustration number of the item is in the catalogue The Horstmann Collection of Southern African Art published by the Johannesburg Art Gallery is 6]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni; Dimensions: 117 x 4,3 x 7 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: Horstmann purchased the object from Peter Miller a dealer in Cape Town who had possibly obtained it from the Maria-Stein Lessing collection after her death in 1961 (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni; Dimensions: 117 x 4,3 x 7 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: Horstmann purchased the object from Peter Miller a dealer in Cape Town who had possibly obtained it from the Maria-Stein Lessing collection after her death in 1961 (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'staff' acquired by JAG from Udo Horstmann, as well as an object tag, and an accession register page.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on acquisition: 1992 indicates year of accession; 11 is the number of the specific batch in which this item was part; 1 is the item number of the objects in the batch. The illustration number of the item is in the catalogue The Horstmann Collection of Southern African Art published by the Johannesburg Art Gallery is 7]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni; Dimensions: 188,5 x 7,5 x 2 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: Horstmann purchased the object from Peter Miller a dealer in Cape Town who had possibly obtained it from the Maria-Stein Lessing collection after her death in 1961 (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni; Dimensions: 188,5 x 7,5 x 2 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: Horstmann purchased the object from Peter Miller a dealer in Cape Town who had possibly obtained it from the Maria-Stein Lessing collection after her death in 1961 (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni; Dimensions: 188,5 x 7,5 x 2 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: Horstmann purchased the object from Peter Miller a dealer in Cape Town who had possibly obtained it from the Maria-Stein Lessing collection after her death in 1961 (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni; Dimensions: 188,5 x 7,5 x 2 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: Horstmann purchased the object from Peter Miller a dealer in Cape Town who had possibly obtained it from the Maria-Stein Lessing collection after her death in 1961 (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'staff' acquired by JAG from Udo Horstmann, as well as an object tag, an archive file, and an accession register page.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on acquisition: 1992 indicates year of accession; 11 is the number of the specific batch in which this item was part; 1 is the item number of the objects in the batch. The illustration number of the item is in the catalogue The Horstmann Collection of Southern African Art published by the Johannesburg Art Gallery is 10]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni; Dimensions: 162,3 x 5,5 x 5cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from New York African art dealer Merton Simpson (September 20, 1928 – March 9, 2013) an American abstract expressionist painter and African and tribal art collector and dealer (see http://en.wikipedia.org/wiki/Merton_Simpson). Simpson had two -the other was bought by Jeff. Last of Los Angeles. (Information provided by Udo Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni; Dimensions: 162,3 x 5,5 x 5cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from New York African art dealer Merton Simpson (September 20, 1928 – March 9, 2013) an American abstract expressionist painter and African and tribal art collector and dealer (see http://en.wikipedia.org/wiki/Merton_Simpson). Simpson had two -the other was bought by Jeff. Last of Los Angeles. (Information provided by Udo Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann, as well as an archive file, and an accession register page.]
[Source - Nessa Leibhammer from FHYA using JAG materials, 2015: Accession number given by JAG on acquisition: Accession number given by JAG on acquisition: 1992 indicates year of accession; 11 is the number of the specific batch in which this item was part; 1 is the item number of the objects in the batch. The illustration number of the item is in the catalogue The Horstmann Collection of Southern African Art published by the Johannesburg Art Gallery is 22]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Spoon, Northern Nguni/Tsonga; Dimensions: 63 x 5,9 x 7 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from Peter Miller a dealer in Cape Town who had possibly obtained it from the Maria-Stein Lessing collection after her death in 1961 (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Spoon, Northern Nguni/Tsonga; Dimensions: 63 x 5,9 x 7 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from Peter Miller a dealer in Cape Town who had possibly obtained it from the Maria-Stein Lessing collection after her death in 1961 (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'staff' acquired by JAG from Udo Horstmann, as well as an archive file, and an accession register page.]
[Source - Nessa Leibhammer from FHYA using JAG materials, 2015: Accession number given by JAG on acquisition: 1992 indicates year of accession; 11 is the number of the specific batch in which this item was part; 1 is the item number of the objects in the batch. The illustration number of the item is in the catalogue The Horstmann Collection of Southern African Art published by the Johannesburg Art Gallery is 11]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni/Tsonga; Dimensions: 147 x 6.7 x 9.5 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from a private collector in London (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni/Tsonga; Dimensions: 147 x 6.7 x 9.5 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from a private collector in London (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Staff, Northern Nguni/Tsonga; Dimensions: 147 x 6.7 x 9.5 cm. Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: The object was purchased by Horstmann from a private collector in London (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'headrest/staff' acquired by JAG from Udo Horstmann, as well as an object tag, an archive file, and an accession register page.]
[Source - Nessa Leibhammer from FHYA using JAG materials, 2015: Accession number given by JAG on acquisition: 1992 indicates year of accession; 11 is the number of the specific batch in which this item was part; 1 is the item number of the objects in the batch. The illustration number of the item is in the catalogue The Horstmann Collection of Southern African Art published by the Johannesburg Art Gallery is 21]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Headrest/Staff, Tsonga/Northern Nguni; Dimensions: 121 x 11,5 x 5,5 cm. Material: Wood pigment (red)]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: Horstmann does not remember from whom he purchased the staff from (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Headrest/Staff, Tsonga/Northern Nguni; Dimensions: 121 x 11,5 x 5,5 cm. Material: Wood pigment (red)]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: Horstmann does not remember from whom he purchased the staff from (information provided by Horstmann 18 March 2008).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'snuff-box' acquired by JAG from Udo Horstmann, as well as an archive file, and an accession register page.]
[Source - Nessa Leibhammer from FHYA using JAG materials, 2015: Accession number given by JAG on acquisition: 1992 indicates year of accession; 11 is the number of the specific batch in which this item was part; 1 is the item number of the objects in the batch. The illustration number of the item is in the catalogue The Horstmann Collection of Southern African Art published by the Johannesburg Art Gallery is 48]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - JAG accession registers and Horstmann catalogue published by JAG, 2015: JAG Description: Snuff-box, Northern Nguni; Dimensions: 6,1 x 7,8 x 7,8 cm. Material: gourd, brass (wire), copper (wire)]
Acquisition
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Acquired from: No info available on where Horstmann acquired the item]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 20 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 30 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 31 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 33 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 34 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by JAG as a 'spoon' acquired by Nessa Leibhammer using JAG materials from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 35 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 40 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 41 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 42 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 43 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 44 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 46 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 47 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Cover of 'Traditional Collection: Horstmann Collection: 14/6B Vol 1: Brodie Collection 14/6C Vol 1'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-horstmann-collection-14-6b-vol-1-brodie-collection-14-6c-vol-1
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Spine of Art Gallery Committee Minute Book 1990-1993'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/art-gallery-committee-minute-book
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 48 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by Nessa Leibhammer using JAG materials as a 'spoon' acquired by JAG from Udo Horstmann.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1997 indicates year of accession; 9 is the number of the specific batch in which this item was part; 49 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Spoon, Zulu; Material: Bone, pigment]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: The FHYA selection from the Karner Collection comprises 1 item, and associated material, which Leibhammer identified as probably dating to the nineteenth and early twentieth centuries, and as coming from the FHYA target area of KwaZulu-Natal and immediately adjacent regions. Leibhammer further selected this item because there was an image of the object readily available.]
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: Ken Karner is a dealer and collector who was born in America but has lived in Africa and collected African art for more than 30 years. He has sold work to many national and international galleries.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018, using JAG materials: File contains an object identified by JAG as a 'snuff spoon' acquired by JAG from Ken Karner.]
[Source - Nessa Leibhammer for FHYA, 2017: Accession number given by JAG on acquisition: 1992 indicates year of accession; 4 is the number of the specific batch in which this item was part; 38 is the item number of the object in the batch.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Snuff spoon, Pondo; Material: Bone, pigment.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: JAG accessioned the item as Pondo (see also Mpondo as part of Cape Nguni as per Van Warmelo’ s classifications). In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Nessa Leibhammer for FHYA using JAG materials, 2017: Snuff spoon, Pondo; Material: Bone, pigment.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: JAG accessioned the item as Pondo (see also Mpondo as part of Cape Nguni as per Van Warmelo’ s classifications). In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Acquisition
[Source - Nessa Leibhammer for FHYA, 2017: JAG accessioned the item as Pondo (see also Mpondo as part of Cape Nguni as per Van Warmelo’ s classifications). In the 1840s 50s and 60s, after British annexation of the area known as the Colony of Natal, some colonial writers referred to the inhabitants as Zulus because of their linguistic similarities to those who lived north of the Thukela in the Zulu Kingdom. This term obscured many fissures and differences of identity that existed at the time. Towards the end of the 19th century the notion of sameness strengthened in local African communities in opposition to colonial oppression (Wright in Tribing and Untribing the Archive 2016, pp. 202, 212, 213, 214).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: The core of what would become the Maritz Collection at JAG was assembled by Jonathan Lowen in London. This was then purchased by Nicholas Maritz who added further items to it before selling the collection, which he classified as ‘Northern Nguni’, to the JAG in 2013. The Maritz Collection is housed within Traditional Collections in JAG. The FHYA selection of the items within the Maritz Collection was made by Nessa Leibhammer, who curated the Traditional Collections from 1994 to 1996, and then again from 2005 to 2013. This selection contains 62 items, and their associated material, which Leibhammer identified as probably dating to the nineteenth and early twentieth centuries, and as coming from the FHYA target area of KwaZulu-Natal and immediately adjacent regions. Leibhammer further selected items within these criteria for which images were readily available.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and the proceeding numeral(s), the number of the item within that batch. The number of each item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia will be shown at file level.]
[Source - Chloe Rushovich for FHYA using materials provided by Nessa Leibhammer, 2018: The core of what would become the Maritz Collection at JAG was assembled in London by Jonathan Lowen, who began collecting southern African art in 1969. The Maritz Collection is housed within Traditional Collections in Johannesburg Art Gallery.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates the year of accession, 6 the batch number in that year, and 14 the number of the item within that batch. The number of the item in Maritz’s 2008 catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 11.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Staff, Southern Nguni, 19th century; Description: Lighter amber- coloured wood, with round knob and carved snake wrapped and twisted around shaft; Dimensions: Length 109,2cm Material: Wood]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Jonathan Lowen, it was purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Staff, Southern Nguni, 19th century; Description: Lighter amber- coloured wood, with round knob and carved snake wrapped and twisted around shaft; Dimensions: Length 109,2cm Material: Wood]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Jonathan Lowen, it was purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'vessel with lid as drinking cup' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates the year of accession, 6 the batch number in that year, and 28 the number of the item within that batch. The ‘a’ and ‘b’ denote body parts that belong together – in this case the ‘a’ is the body and the ‘b’ the lid. The number of the item in Maritz’s 2008 catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 44.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015; JAG Description: Vessel with lid as drinking cup, North Nguni, 19th Century; Dimensions: 43,5 x 20,5 x 20cm (pot and lid) 12,5cm (height of lid) Material: Wood and pokerwork (Strictly speaking pokerwork is a technique. ‘Carved’ should be added. (Info supplied by C. Elliott Weinberg, 18 Nov 2014)]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: While one of these vessels is on the front cover of the first major publication on southern African traditional art, the 1991 Art and Ambiguity: Perspectives on the Brenthurst collection of Southern African art there is no mention of them in the texts. The provenance of these vessels remain unclear. Although they have been called ‘beer’ or ‘milk’ vessels there are no traces of liquid residues. Karel Nel has suggested they may have been used to hold snuff (personal communication, November 2014). They have been attributed to both Swazi and Zulu origins. However Elliot Weinberg has identified a “a renowned artisan, named Unobadula…who live[d] upon the Ixeku [Mqeku] river a tributary of the Umgeni [Mngeni]” who supplied three to the Natal Court at the 1862 International Exhibition in London (Elliott-Weinberg 2015 forthcoming). See image of object on BM accession slip and UKZN Killie Campbell Collections photograph of the carver. Although Nettleton and Dell also mention Unobadula, Elliot is the only one to have linked him to the five works mentioned in Mann’s catalogue for the 1862 Empire Exhibition. Her further contribution is the identification of him as sitter in the Campbell Collections photograph (also by Mann).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
* Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Vessel with lid as drinking cup, North Nguni, 19th Century]
Physical characteristics
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: Dimesions: 43,5 x 20,5 x 20 cm (pot and lid) 12,5 cm (height of lid) Material: Wood and pokerwork (Strictly speaking pokerwork is a technique. ‘Carved’ should be added. (Info supplied by C. Elliott Weinberg, 18 Nov 2014)]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
*
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: While one of these vessels is on the front cover of the first major publication on southern African traditional art, the 1991 Art and Ambiguity: Perspectives on the Brenthurst collection of Southern African art there is no mention of them in the texts. The provenance of these vessels remain unclear. Although they have been called ‘beer’ or ‘milk’ vessels there are no traces of liquid residues. Karel Nel has suggested they may have been used to hold snuff (personal communication, November 2014). They have been attributed to both Swazi and Zulu origins. However Elliot Weinberg has identified a “a renowned artisan, named Unobadula…who live[d] upon the Ixeku [Mqeku] river a tributary of the Umgeni [Mngeni]” who supplied three to the Natal Court at the 1862 International Exhibition in London (Elliott-Weinberg 2015 forthcoming). See image of object on BM accession slip and UKZN Killie Campbell Collections photograph of the carver. Although Nettleton and Dell also mention Unobadula, Elliot is the only one to have linked him to the five works mentioned in Mann’s catalogue for the 1862 Empire Exhibition. Her further contribution is the identification of him as sitter in the Campbell Collections photograph (also by Mann).]
*
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'vessel' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates the year of accession, 6 the batch number in that year, and 30 the number of the item within that batch. The number of the item in Maritz’s 2008 catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 46.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Vessel, Northern Nguni, 19th century; Description: Wooden three long- legged vessel with lid, line and chequer pattern throughout. Vessel sits on top of three slightly inwardly curving legs, with straight grooves carved on the outside, and with pokerwork? sections on the internal parts; Dimensions: 71 x 25,5 x 28cm Material: Wood, carving.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Kevin Conru, an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).The item was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Vessel, Northern Nguni, 19th century; Description: Wooden three long- legged vessel with lid, line and chequer pattern throughout. Vessel sits on top of three slightly inwardly curving legs, with straight grooves carved on the outside, and with pokerwork? sections on the internal parts; Dimensions: 71 x 25,5 x 28cm Material: Wood, carving.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Kevin Conru, an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).The item was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'vessel with lid' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates the year of accession, 6 the batch number in that year, and 31 the number of the item within that batch. The number of the item in Maritz’s 2008 catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 47.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Vessel with lid, Northern Nguni, 19th century; Description: Wooden vessel with lid. Pointed lid with knob. Carved lines throughout, with carved ring on the outside, attached around the center of the vessel. Some damage to bottom of the legs and some residue on the inside; Dimensions: 63cm x 48,5cm x 37,5cm Material: Wood, carving]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Kevin Conru, an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).The item was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Vessel with lid, Northern Nguni, 19th century; Description: Wooden vessel with lid. Pointed lid with knob. Carved lines throughout, with carved ring on the outside, attached around the center of the vessel. Some damage to bottom of the legs and some residue on the inside; Dimensions: 63cm x 48,5cm x 37,5cm Material: Wood, carving]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Kevin Conru, an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).The item was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Vessel with lid, Northern Nguni, 19th century; Description: Wooden vessel with lid. Pointed lid with knob. Carved lines throughout, with carved ring on the outside, attached around the center of the vessel. Some damage to bottom of the legs and some residue on the inside; Dimensions: 63cm x 48,5cm x 37,5cm Material: Wood, carving]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Kevin Conru, an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).The item was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'vessel' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates the year of accession, 6 the batch number in that year, and 33 the number of the item within that batch. The number of the item in Maritz’s 2008 catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 49.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Vessel, Northern Nguni, 19th century; Description: Carved wooden vessel, with amasumpa patterens across surface, three dumpy legs and small lugs; Dimensions: 32,5cm x 30,7cm x 27,3cm Material: Wood, carving.]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Jonathan Lowen, it was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Vessel, Northern Nguni, 19th century; Description: Carved wooden vessel, with amasumpa patterens across surface, three dumpy legs and small lugs; Dimensions: 32,5cm x 30,7cm x 27,3cm Material: Wood, carving.]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Jonathan Lowen, it was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Vessel, Northern Nguni, 19th century; Description: Carved wooden vessel, with amasumpa patterens across surface, three dumpy legs and small lugs; Dimensions: 32,5cm x 30,7cm x 27,3cm Material: Wood, carving.]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Jonathan Lowen, it was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'milk pail' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 34 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 51.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Milk pail, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel in KwaZulu (no other detail given).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Milk pail, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel in KwaZulu (no other detail given).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'food dish with lid' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 37 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 4?]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Food dish with lid, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel in KwaZulu (no other detail given).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Food dish with lid, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel in KwaZulu (no other detail given).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'meat platter' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 39 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 56]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Meat platter, North Nguni, 19th/ 20th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this platter in KwaZulu (no other detail given). See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Meat platter, North Nguni, 19th/ 20th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this platter in KwaZulu (no other detail given). See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'drinking cup' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 42 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 61]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Drinking cup, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel from B.P van der Berg, Vryheid.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'headrest amasumpa' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 43 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 64.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th Century; Dimensions: 12,3cm x 31,5cm x 6,5cm; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought the item from Cathay Historical Militaria, Umhlanga (Mervin Mitten and Roy Rickett) Antique dealers, Unhlanga.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'headrest' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 49 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 70.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel from African Image a shop selling African art in Cape Town established by Michael Heuermann.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this vessel from African Image a shop selling African art in Cape Town established by Michael Heuermann.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'headrest' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 51 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 72.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this headrest from dealer Steven De Combes, Cape Town.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'headrest' acquired by JAG from Nicholas Maritz.]]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 52 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 73.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th/ 20th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this headrest in KwaZulu (no other detail given).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th/ 20th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this headrest in KwaZulu (no other detail given).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th/ 20th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this headrest in KwaZulu (no other detail given).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'headrest' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 28 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 75.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this headrest from Peter Adler, a London-based dealer.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Headrest such as these with fluted legs are usually classified as ‘Swazi’ if following Van Warmelo’s classificatory structure.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this headrest from Peter Adler, a London-based dealer.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Headrest such as these with fluted legs are usually classified as ‘Swazi’ if following Van Warmelo’s classificatory structure.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'headrest' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 55 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 77.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Headrest, Northern Nguni, 19th/20th century; Description: Carved wooden headrest, with two legs and tails, carved in animal shape/form; Centre lug; Dimensions: 12,4cm x 43,5cm x 10cm Material: Wood, carving.]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Steven de Combes, it was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Headrest, Northern Nguni, 19th/20th century; Description: Carved wooden headrest, with two legs and tails, carved in animal shape/form; Centre lug; Dimensions: 12,4cm x 43,5cm x 10cm Material: Wood, carving.]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Steven de Combes, it was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Headrest, Northern Nguni, 19th/20th century; Description: Carved wooden headrest, with two legs and tails, carved in animal shape/form; Centre lug; Dimensions: 12,4cm x 43,5cm x 10cm Material: Wood, carving.]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Steven de Combes, it was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'headrest' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 56 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 78.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th/ 20th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this headrest from dealer Steven De Combes, Cape Town.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Headrest, North Nguni, 19th/ 20th Century; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this headrest from dealer Steven De Combes, Cape Town.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 57 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 79.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figure staff, North Nguni, 19th Century; Dimensions: length 94cm; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 1’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figure staff, North Nguni, 19th Century; Dimensions: length 94cm; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 1’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figure staff, North Nguni, 19th Century; Dimensions: length 94cm; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 1’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figure staff, North Nguni, 19th Century; Dimensions: length 94cm; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 1’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 58 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 80.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Dimensions: length 95cm; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Dimensions: length 95cm; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Dimensions: length 95cm; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Dimensions: length 95cm; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 60 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 4?]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figure staff, North Nguni, 19th Century; Dimensions: Length 91,6cm; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 3’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figure staff, North Nguni, 19th Century; Dimensions: Length 91,6cm; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 3’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figure staff, North Nguni, 19th Century; Dimensions: Length 91,6cm; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 3’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figure staff, North Nguni, 19th Century; Dimensions: Length 91,6cm; Material: Wood.]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 3’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figurative staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 61 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 83.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 64 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 86.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figurative staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 65 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 87.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Andrew Newall a dealer in furniture, porcelain, silver and decorative arts in Cape Town, South Africa and Michael Graham-Stewart, is a London-based art dealer.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 6’ by Nessa Leibhammer.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Andrew Newall a dealer in furniture, porcelain, silver and decorative arts in Cape Town, South Africa and Michael Graham-Stewart, is a London-based art dealer.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 6’ by Nessa Leibhammer.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Andrew Newall a dealer in furniture, porcelain, silver and decorative arts in Cape Town, South Africa and Michael Graham-Stewart, is a London-based art dealer.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 6’ by Nessa Leibhammer.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Andrew Newall a dealer in furniture, porcelain, silver and decorative arts in Cape Town, South Africa and Michael Graham-Stewart, is a London-based art dealer.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 6’ by Nessa Leibhammer.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 67 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 89.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Peter Adler, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Peter Adler, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Peter Adler, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Peter Adler, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 69 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 91.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figurative staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 70 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 92.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 9’ by Nessa Leibhammer.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 9’ by Nessa Leibhammer.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 9’ by Nessa Leibhammer.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Figurative staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: Sandra Klopper discusses whether these figurative staffs should be classified as ‘Tsonga’ or ‘North Nguni’ by (Klopper 1989). See also Brenthurst catalogue entries e.g. JL-C-18 which is classified as Tsonga/North Nguni - ‘produced for the tourist trade.’]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Fig Type 9’ by Nessa Leibhammer.]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 71 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 93.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure 11' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 72 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 94.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 73 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 95.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought these figures from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 74 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 96.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Ken Karner, Franch Hoek, Cape who acquired it in England]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Ken Karner, Franch Hoek, Cape who acquired it in England]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this staff from Ken Karner, Franch Hoek, Cape who acquired it in England]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'figure' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 75 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 97.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century;Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century;Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century;Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'med spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 77 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 102.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'med spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 78 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 101.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this spoon in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spoon staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 79 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 103.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Spoon staff, Northern Nguni, 19th century; Description: Twisted carved wooden spoon staff, with carved 'LTD' at the back of the spoon cup; Dimensions: Length 99cm; Material: Wood, carved letters, pokerwork]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Ricky Crathorne who confirmed that this elegant spoon-staff was field collected in KZN in 2000. The carved, poker worked letters 'LTD' appear on the back of the cup of the spoon and may possibly imitate the qualification 'Ltd' usually appearing behind the name of a limited company. The Anglo American Johannesburg Centenary Trust (AAJCT) purchased the item from Maritz, and then later donated it to JAG]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Spoon staff, Northern Nguni, 19th century; Description: Twisted carved wooden spoon staff, with carved 'LTD' at the back of the spoon cup; Dimensions: Length 99cm; Material: Wood, carved letters, pokerwork]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Ricky Crathorne who confirmed that this elegant spoon-staff was field collected in KZN in 2000. The carved, poker worked letters 'LTD' appear on the back of the cup of the spoon and may possibly imitate the qualification 'Ltd' usually appearing behind the name of a limited company. The Anglo American Johannesburg Centenary Trust (AAJCT) purchased the item from Maritz, and then later donated it to JAG]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Spoon staff, Northern Nguni, 19th century; Description: Twisted carved wooden spoon staff, with carved 'LTD' at the back of the spoon cup; Dimensions: Length 99cm; Material: Wood, carved letters, pokerwork]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Ricky Crathorne who confirmed that this elegant spoon-staff was field collected in KZN in 2000. The carved, poker worked letters 'LTD' appear on the back of the cup of the spoon and may possibly imitate the qualification 'Ltd' usually appearing behind the name of a limited company. The Anglo American Johannesburg Centenary Trust (AAJCT) purchased the item from Maritz, and then later donated it to JAG]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 80 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 104.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Spoon, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz catalogue states that the spoon came from Laduma Madela, (c1906-c.1997) who inherited from his father Mveli Madela]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Spoon Type 1’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Spoon, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz catalogue states that the spoon came from Laduma Madela, (c1906-c.1997) who inherited from his father Mveli Madela]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Additional Title Information
[Source - Nessa Leibhammer for FHYA in 2015: Item named ‘Spoon Type 1’ by Nessa Leibhammer]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 83 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 107.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 86 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 110.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 87 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 111.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Attributions and conjectures
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 88 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 112.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 89 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 113.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 90 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 114.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'serving spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 91 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 115.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'serving spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 92 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 116.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'serving spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 93 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 117.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'serving spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 94 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 118.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'serving spoon' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 95 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 4?]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'beer ladle' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 96 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 124.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this in KZN – no further info available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this in KZN – no further info available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'beer ladle' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 06 the batch number in that year, and 97 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 125.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 98 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 128.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought the item from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought the item from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'staff with ovoid knob' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 99 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 129.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'staff with spiral knob' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 106 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 136.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Staff with spiral knob, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Staff with spiral knob, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'dancing staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 108 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 138.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'dancing staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 110 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 141.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'large knobkierrie' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 111 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 143.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this from Peter Adler a dealer in African and Oceanic art based in London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: The Maritz catalogue describes item as: OVERSIZED (“EXECUTIONER’S”) KNOB KIERIE]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this from Peter Adler a dealer in African and Oceanic art based in London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: The Maritz catalogue describes item as: OVERSIZED (“EXECUTIONER’S”) KNOB KIERIE]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'executioner's knobkierie' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 112 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 146.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Executioner's knobkierie, Northern Nguni, 19th century; Description: Carved short-handled knobkierie with oversized knob, heavy; Dimensions: Length 57cm Material: Wood]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Kevin Conru, an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).The item was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Executioner's knobkierie, Northern Nguni, 19th century; Description: Carved short-handled knobkierie with oversized knob, heavy; Dimensions: Length 57cm Material: Wood]
Acquisition
[Source - Phillipa van Straaten, curator of the Traditional Collections at JAG, for FHYA using JAG materials, 2017: Acquired from: Maritz acquired this item from Kevin Conru, an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).The item was then purchased by the Anglo American Johannesburg Centenary Trust (AAJCT) from Maritz, and then donated to JAG by the AAJCT.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'tall staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 119 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 156.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'tall staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 120 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 157.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'tall staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 121 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 158.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'tall staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 122 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 159.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'tall staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 123 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 160.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz found this staff at Portabello Road Market]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz found this staff at Portabello Road Market]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz found this staff at Portabello Road Market]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'spear staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 124 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 161.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Spear staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Spear staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Spear staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'barbed staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 126 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 163.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Barbed staff, North Nguni, 19th Century; Wood and pokerwork]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased the item from Peter Adler, a dealer in African art in London since 1966.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: See HORSTMANN 14/6B VOL 1: Letter dated 18 Sept 1992 from Jurgen Witt to R. Keene and D. Levy re staff JAG 1992.11.4 said to have been handed to Andries Spies by Mpande on or around 17 July 1847 as insignia of office.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Barbed staff, North Nguni, 19th Century; Wood and pokerwork]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased the item from Peter Adler, a dealer in African art in London since 1966.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2015: Object notes: See HORSTMANN 14/6B VOL 1: Letter dated 18 Sept 1992 from Jurgen Witt to R. Keene and D. Levy re staff JAG 1992.11.4 said to have been handed to Andries Spies by Mpande on or around 17 July 1847 as insignia of office.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'curly staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 129 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 166.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Curly staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Curly staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'snuff box staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 130 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 240.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Snuff box staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Snuff box staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item from Jonathan Lowen, London]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'amasumpa snuff box staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 132 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 242.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Amasumpa snuff box staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Amasumpa snuff box staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'grooved snuff box staff' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 133 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 243.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Grooved snuff box staff, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item from Jonathan Lowen, London.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'amasumpa snuff box' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 134 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 244.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Amasumpa snuff box, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Amasumpa snuff box, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz purchased this item in KZN – no further information available]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'amasumpa ear plugs' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 135 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 251.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Amasumpa ear plugs, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this from Peter Adler a dealer in African and Oceanic art based in London since 1966]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Amasumpa ear plugs, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this from Peter Adler a dealer in African and Oceanic art based in London since 1966]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'grooved snuff box' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 136 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 252.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Grooved snuff box, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by JAG as a 'ceramic vessels' acquired by JAG from Nicholas Maritz.]
[Source - Nessa Leibhammer for FHYA using JAG materials, 2015: Accession number given by JAG on purchase. 2012 indicates year of accession, 6 the batch number in that year, and 137 the number of the item within that batch. The number of the item in Maritz’s catalogue Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia is 253]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Ceramic vessels, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Description
[Source - Maritz, N.G. Relics of War: A Collection of 19th Century Artefacts from British South Africa and Southern Rhodesia. Pretoria: Salut Africa CC, 2008, used without alteration by JAG, 2015: JAG Description: Ceramic vessels, North Nguni, 19th Century; Material: Wood]
Acquisition
[Source - Nessa Leibhammer for FHYA, 2015: Acquired from: Maritz bought this item from Kevin Conru an American dealer of African and Oceanic art based in the UK and in Brussels. Conru was previously the head of the African and Oceanic Departments of Bonham’s auction house. Now a private dealer, he has assembled an important collection of early Southern African art. See Conru, K., Klopper, S and Nel, K. 2002. The Art of Southeast Africa from the Conru Collection. (Information provided by Karel Nel, 12 October 2014).]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]
Published
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Published
[Source - Carolyn Hamilton for FHYA, 2019: Contains a selection of institutional material held at JAG, some whole records and in other instances, compilations of parts of records that were digitised because of their relevance to the associated objects selected by the FHYA. In this section you will either find the complete record - or as complete a version as the FHYA were able to at the time. Where the record appears alongside the selected objects in the series above, a link will have been made from there to the complete record in this series, via the Associated materials field.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: The box file contains two soft cardboard files of general correspondence relating to the negotiations around the assembly of what is now known as the Brenthurst Collection by Jonathan Lowen - its valuation, acquisition and the possibilities of a publication. The two files contained inside are labelled: 11/1a Vol. 1, Brenthurst Collection (for Lowen Collection) – correspondence – reports and 10/58 Art and Ambiguity; 11/1a Vol. 2, Brenthurst Collection (from Lowen Collection).]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Contains information from auction catalogues and photocopies of information (often incomplete) from publications and articles on southern African traditional objects.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Contains a valuation of the Brenthurst Collection by art dealer and gallery owner Michael Stevenson done on 3 December 2003
These contain information from auction catalogues and photocopies of information (often incomplete) from publications and articles on southern African traditional objects.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Nessa Leibhammer for FHYA, 2017, using JAG materials: Box File 6 contains a few pictures of objects and photocopies of pages from publications and articles on southern African traditional objects; pages from Sothebys auction catalogue; correspondence from collector Jurgen Witt, from whom some of the Horstmann objects were originally collected, to Rochelle Keene, then director of the JAG; correspondence between R. Keene and John Mack of the British Museum; Di Levy’s (then the curator of the Traditional S.A. collections at JAG) notes on objects for purchase from Horstmann; notes from Horstmann with information on objects offered for sale.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Contains pages from an Art Gallery Committee Meeting dated 1992/04/02, in which the Acting Director discussed the Udo Horstmann collection of Southern African art which was for sale. The Committee unanimously supported the possible acquisition of the collection through the Anglo American Johannesburg Centenary Trust.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Contains correspondence pertaining to the purchase of the Jacques Collection of Headrests, following the closure of the Africana Museum in November 1988. The collection had been on loan to the Africana Museum since the 1950's.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Contains correspondence from the Dr. P.H. Jaques (son of Rev. A.A. Jaques) to Christopher Till dated 1993/04/14. It includes Rev. A.A. Jaques annotated notes for a lecture on Shangaan Head-rests, which he delivered to the Fine Arts Society of Johannesburg circa 1941.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Contains pages from an Art Gallery Management Committee Meeting dated 1987/03/30, in which the Chairman authorises the purchase of the Jacques collection of 114 neckrests through the Anglo American Centenary Trust. The collection had been on loan to the Africana Museum since 1951.]
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2019, using JAG materials: Contains cover of Annual Report 1986/1987 file and a piece about JAG's acquisition of the Jaques collection of headrests.]
Creative Commons License: CC BY-NC-ND
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Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.