View 2012-6-126 - Barbed staff (view 2)

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Barbed staff (view 2)

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  • Source of title proper: Nessa Leibhammer using JAG materials

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2012-6-126

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  • 2016 - (Online curation)
    Online curation
    Five Hundred Year Archive (FHYA)
    Note
    Digital image by Nessa Leibhammer
  • 2012 - (Custody)
    Custody
    Johannesburg Art Gallery (JAG)
  • [19-?] (Collection)
    Collection
    Nicholas Maritz
  • YYYY (Making)
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    No attribution

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Creative Commons License: CC BY-NC-ND

https://creativecommons.org/licenses/by-nc-nd/3.0/

Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.

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[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]

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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.]

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[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.]

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[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).]

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