Multiple views of a circular all-purpose sweetgrass basket with decorative sides; contains alternating rows of pine needle and sweetgrass accented with pine knots; sewn with palmetto leaf; distinctive style is known as the "elephant ear" design.
Slave auctioneer's token, 1846. These tokens were distributed as one-cent pieces and served as advertisements for the businesses and services depicted on the coins. Face view of token reads "W.W. Wilbur Auction & Commission Merchant; Charleston, So. Ca.; Going at Only A Penny" encircling the image of an auctioneer. Obverse view of token reads "Merchants & Manufactors Agents; Collection Broker Notary Public" encircling the image of a tree.
Copper slave badge, square in shape, reading "Charleston 20 Servant 1823." Under the date, a stamp reads "LAFA," signifying the maker, John Joseph Lafar.
Pewter slave badge produced for a servant in Charleston, S.C. It was common to counterfeit badges to avoid paying taxes, and this particular one was not issued by the city, but created in the stamped year. The face is stamped "Charleston 1862 Servant #4." Back side contains no markings.
Copper slave badge, square in shape. Face is stamped "Charleston 1840 Servant 1869." 1840 is the year produced and 1869 signifies that it was the 1,869th "servant" badge sold that year.
Oval sweetgrass basket with seven sets of pine knots (called "love knots") which are visible only from the outside; basket is accented with rows of pine needle; also contains bulrush; sewn with palmetto leaf; bottom reads "Anne Scott 2006."
Multiple views of a sweetgrass sewing basket with handles on a pedestal base; lid has open nipple and is decorated with six pine knots; basket contains some rows of pine needles and is sewn with palmetto leaves.
Coiled, oblong fruit basket with cross handle made of sweetgrass, bulrush, and pine needle, sewn with palmetto leaf. This basket was created by a left-handed artist, visually evident by the slant of the palmetto leaf wraps. The wraps in a right-handed basket typically slant to the left, while the wraps in this basket slant to the right.
Thick coiled round basket of bulrush fastened with palmetto leaf. Although this is a contemporary basket, it is a very old form; few basketmakers use bulrush today because it is extremely tough to work.
Multiple views of a hinged sweetgrass basket with domed cover, decorated with pine knots and used as a sewing basket. Made with sweetgrass, pine needle, and bulrush sewn with palmetto leaf.
Front and interior views of a miniature basket made of sweetgrass and pine needle sewn with palmetto leaf. Decorative version of a sewing basket with removable lid.
Egg basket made of sweetgrass, bulrush, and pine needle, sewn with palmetto leaf. Cross handle is decorated with pine knots; wall slopes out from flared mouth and in towards bottom.
Front, interior, and profile views of a multi-colored basket made of sweetgrass, bulrush, and pine needle, sewn with palmetto leaf. Sweetgrass is natural and dyed blue, orange, and red. A wrapped hinge is sewn into the bottom for hanging purposes.
Front and interior views of a sewing basket made of sweetgrass, bulrush, and pine needle, sewn with palmetto leaf. Basket has a double handle and a hinge that attaches the cover to the basket. The cover contains a hole for sewing material, typical of a sewing basket. Unstable, poor condition.
Full and profile views of a coiled basket, possibly used for fruit, with a cross handle; made with sweetgrass, bulrush and pine needle, sewn with palmetto leaf. Basket is asymmetric and sits extremely crooked in its natural state; this feature has been manually edited somewhat in the images to ease viewing the object.
Front and interior views of a coiled sewing basket made of bulrush, pine needle, and sweetgrass sewn with palmetto leaf. Basket has two handles and a lid that is decorated with pine knots.
Thick coiled basket of bulrush fastened with palmetto leaf. Contains two handles; used as a hamper or a trash basket. Although this is a contemporary basket, it is a very old form; few basketmakers use bulrush today because it is extremely tough to work.
Front and top views of a contemporary sweetgrass basket for decorative use in the shape of a hat; center constructed of pine needle; sewn with palmetto leaf.
Front and top views of a contemporary sweetgrass basket for decorative use in the shape of a hat; center constructed of pine needle; sewn with palmetto leaf.
Front and interior views of a multiple views of a contemporary sweetgrass basket in the form of a hat, made of sweetgrass and bulrush and sewn with palmetto leaf. There is a felt band sewn inside.
Salt-glazed border tiles made from kiln-fired red clay, used to line walkways and gardens. Made by slave labor on a plantation near Hickory Hill, South Carolina. Four tiles exist in the collection, two of each shown here.
Front and interior views of a tightly woven grain storage box with two handles; traditional form. Made of sweetgrass and pine needle and sewn with palmetto leaf.
Thick coiled rice fanner made of bulrush fastened with palmetto leaf. Although this is a contemporary basket, it is a very old form; few basketmakers use bulrush today because it is extremely tough to work.
Thick coiled bulrush basket sewn with palmetto leaf; possibly contains oak splits. Although this is a contemporary basket, it is a very old form; few basketmakers use bulrush today because it is extremely tough to work. Unstable base, poor condition.
St. Julian DeCosta standing in front of bushes. He is wearing a long sleeve shirt, tie and pants. Inscription reads [On front]"Chief DeCosta." [On back] "From your brother with love, St. Julian DeCosta for Chief DeCosta."
Chair made by slaves from Ridgley Plantation near Florence, South Carolina. The chair is made with mortise and tenon joints reinforced with square nails. The seat is of animal skin. Evidence that the legs of the chair have been shortened indicates that it was a slave's chair. Slaves were not permitted to sit higher than the master or his children.
Miriam DeCosta Seabrook is sitting in a wicker chair at the home of Anna and George Hunter. She is turned in profile and is wearing a pink robe. Inscription reads “Miriam Seabrook at Anna and George Hunter”
Unidentified infant wearing a cap is sitting in rocking chair in front of 167 Congress Street. Inscription reads “A.B. Photo Finishers 'Always Busy' Mezzaine Giddens-Lane Bldg.”
Glass chicken egg used for inducing hens to lay eggs. According to Mrs. Gold, to encourage a hen to lay eggs in a specific place, farmers would often begin making their nests and place the artificial nesting eggs in them with the hope that the hen would complete her nest in that location. This also helped the farmer keep track of which hens were laying eggs and where the eggs were located. The glass eggs remained in the nest until the hen laid and incubated the eggs and the offspring hatched. It was important to maintain this process and promptly remove the artificial egg so that it could be reused.
Multiple views of an open-toed infant shoe with characteristics of a sandal made of sweetgrass and pine straw, sewn with palmetto leaf. The bow is made of sweetgrass.
Composite print featuring three variations of an unidentified infant sitting in chair. In each image, the child is holding a different object: a bottle, stuffed animal, and teddy bear. The actual photograph is torn in two.
Five dollar Confederate greenback issued on February 17, 1864 and redeemable two years after the ratification of a treaty of peace between the Confederate States of America and the United States of America. Printed by Evans & Cogswell in Charleston, South Carolina and engraved by Keatinge & Ball of Columbia, South Carolina.
Ten dollar Confederate greenback issued on February 17, 1864 and redeemable two years after the ratification of a treaty of peace between the Confederate States of America and the United States of America. Printed by Evans & Cogswell in Charleston, South Carolina and engraved by Keatinge & Ball of Columbia, South Carolina.
Five dollar bill issued by the Farmers & Exchange Bank of Charleston and dated September 28, 1853. Bill depicts an African American tending to a wagon pulled by oxen. Engraved by Toppan, Carpenter, Kasilear & Company, Philadelphia and New York.
Coiled decorative sweetgrass wall pocket hanging shaped like a fish with fins and a tail; oval basket attaches to center section. Made of sweetgrass and pine needle sewn with palmetto leaf.
Miriam DeCosta Seabrook, Raymond T. DeCosta, and Herbert U. Seabrook, Jr. are standing outside in front of a brick chimney. Miriam is wearing a sleeveless dress, Raymond is wearing a suit, and Herbert is wearing a long sleeve shirt and shorts.
Miriam DeCosta Seabrook is standing outside in front of trees. She is wearing side button slacks and a kerchief. There is a wooden structure in the background.
Miriam DeCosta Seabrook is standing indoors while attending Herbert U. Seabrook, Jr.'s wedding. She is wearing a formal dress with lace. Inscription reads: “[illegible] posed for his wedding minus hat worn - June 25, 1950”
Miriam DeCosta Seabrook and Eugenia DeCosta Higgins are standing outside beside each other. Miriam is wearing a straw hat and light dress. Eugenia is wearing a short sleeve dress with ruffles.
A glass turkey egg used to encourage turkey hens to lay eggs in a particular location. According to Mrs. Gold, to encourage a hen to lay eggs in a specific place, farmers would often begin making their nests and place the artificial nesting eggs in them with the hope that the hen would complete her nest in that location. This also helped the farmer keep track of which hens were laying eggs and where the eggs were located. The glass eggs remained in the nest until the hen laid and incubated the eggs and the offspring hatched. It was important to maintain this process and promptly remove the artificial egg so that it could be reused.
Multiple views of a circular, flat sweetgrass basket with a handle made of pine needles wrapped in palmetto leaves; basket contains accents of pine needles throughout and artist has incorporated decorative pine knots; center of basket contains a combination of sweetgrass, pine needles, and bulrush, sewn with palmetto leaf; label on back reads "HAND MADE BY Ida Mae Bennett."
An unidentified woman wearing a long coat stands in front of tree. There is a vehicle in the background. Inscription reads “March 4, 1926. To Miriam and Uncle Herbert.”
