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.
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."
Multiple views of a hanging wall pocket made of sweetgrass and pine needles sewn with palmetto leaf; signature on bottom reads "Martha Manigault 2006."
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.
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.
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.
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.
Snake-shaped wrought iron art object. The eyes are painted red and there are gold painted markings on the body. Forged by Carlton Simmons, Charleston, South Carolina.
Front and interior views of a coiled basked made of sweetgrass, pine needle, and bulrush, sewn with palmetto leaf. Domed lid has a knob and is decorated with pine knots. Lid is connected by a hinge on one side and contains a protruding piece that fits into a loop on the other side, securing it when closed.
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 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 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.
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.
Glass server with handles and eight sections for glasses. The center section is open; bottom of tray has open star configuration. Made of sweetgrass and pine needle, sewn with palmetto leaf. Also called a "ring tray."
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.
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.
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 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.
Sweetgrass magazine tray with cross handle. Tray is made of sweetgrass, bulrush, and pine needles sewn with palmetto leaf. Tray is accented with pine knot decorations.
School photograph of Sharon Peters. She is wearing a dark shirt with a red vest. Inscription reads “Sharon Peters last year school picture. [illegible] on face.”
School photograph of Sharon Peters. She is wearing a blue vest and a paisley scarf and eyeglasses with dark frames. Inscription reads “1968 Sharon Peters”
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”
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.
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.
Untitled oil painting depicting a sailing vessel led by a tugboat. A buoy appears in the forefront and a city is visible in the background. Back of framed image reads "To our Friends The Sanfords; Xmas 1927; Elise and Teddy Harleston."
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.”
Framed oil painting, "Shrimp Vendor," depicting an African American man with a tray of shrimp walking by a house with iron fence and balcony, typical of Charleston homes. On long term loan to the Avery Research Center from St. Mark’s Episcopal Church.
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.”
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.
Framed oil portrait of Thomas Miller, African American lawyer, politician, and educator who was a South Carolina legislator, member of the U.S. House of Representatives, and first President of South Carolina State College (formerly the Colored Normal Industrial Agricultural and Mechanical College of South Carolina).
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.
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.
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.
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.
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.
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.
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.
Copper slave badge, square in shape, reading "Charleston 20 Servant 1823." Under the date, a stamp reads "LAFA," signifying the maker, John Joseph Lafar.
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.
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.
