Published
FHYA using MAA materials
[Source - Nessa Leibhammer for FHYA using MAA materials, 2016: Sir William Ridgeway was the Chairman of the School of Archaeology and Anthropology at Cambridge, and the Disney Professor of Archaeology. He first appears in the MAA records in 1896 when he became a member of The Antiquarian Committee and donated several archaeological artefacts to the collection, AR 1896.75-88. He remained an avid collector, with a particular interest in currency, but contributed to collections from many regions of the world. He died in 1926 and bequeathed his archaeological and ethnographic collections to MAA. The FHYA selection of this material consists of objects from the FHYA target area of KwaZulu-Natal and immediately adjacent regions.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 object identified by Nessa Leibhammer for FHYA using MAA materials as "necklace" and an annual report page.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107007; ID NO: 1927.353]
Attributions and conjectures
[Source - MAA, 2012:
Names: Necklace - MAA (01/11/1998)
Classified:
Keyword: Personal Adornment
Material: Tooth; Bead; Glass; Fibre; Hide
Descriptions: ?Zulu necklace of teeth and black beads - MAA (01/11/1998)
Local:
Maker:
Cultural Group: ?Zulu
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa; ?Transkei - MAA (01/11/1998)
Period:
Contexts: This has had Zulu crossed out and Transkei written on the label - MAA (01/11/1998)
Updated: 08/05/2014
Created: 01/11/1998]
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.
Additional title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Debra Pryor for FHYA, 2019: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 object identified by Nessa Leibhammer for FHYA using MAA materials as "garment/dress", a label, a catalogue card, and an annual report page.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 109361; ID NO: 1927.357]
Attributions and conjectures
[Source - MAA, 2012:
Names: Garment - MAA (01/12/1998) Dress - MAA (01/12/1998)
Classified:
Keyword: Clothing; Personal Adornment
Material: Bead; Glass; Fibre
Descriptions: Loin dress - rows of beads with bead apron, in pink a blue and white - MAA (01/12/1998)
Local: Umazitika
Maker:
Cultural Group: ?Zulu; ?Swazi
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; ?Southern Africa; ?Swaziland; Africa; Southern Africa; ?South Africa; Natal; Zululand - MAA (01/12/1998)
Period:
Contexts: Note in brackets reads (This may be Swazi). Old label adds "Zululand Natal" - MAA (01/12/1998)
Updated: 22/07/2008
Created: 01/12/1998]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 109361; ID NO: 1927.357]
Attributions and conjectures
[Source - MAA, 2012:
Names: Garment - MAA (01/12/1998) Dress - MAA (01/12/1998)
Classified:
Keyword: Clothing; Personal Adornment
Material: Bead; Glass; Fibre
Descriptions: Loin dress - rows of beads with bead apron, in pink a blue and white - MAA (01/12/1998)
Local: Umazitika
Maker:
Cultural Group: ?Zulu; ?Swazi
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; ?Southern Africa; ?Swaziland; Africa; Southern Africa; ?South Africa; Natal; Zululand - MAA (01/12/1998)
Period:
Contexts: Note in brackets reads (This may be Swazi). Old label adds "Zululand Natal" - MAA (01/12/1998)
Updated: 22/07/2008
Created: 01/12/1998]
Published
[Source - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.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 title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Debra Pryor for FHYA, 2019: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 for FHYA using MAA materials as "three bead necklaces with small bits of wood hanging from them", labels and an annual report page.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107008; ID NO: 1927.358 A - C]
Attributions and conjectures
[Source - MAA, 2012:
Description: Three bead necklaces with small bits of wood hanging from them - MAA (01/11/1998)
Local:
Maker:
Cultural Group: Zulu
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa; Transkei - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 22/07/2008
Created:]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107008; ID NO: 1927.358 A - C]
Attributions and conjectures
[Source - MAA, 2012:
Description: Three bead necklaces with small bits of wood hanging from them - MAA (01/11/1998)
Local:
Maker:
Cultural Group: Zulu
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa; Transkei - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 22/07/2008
Created:]
Published
[Source - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107008; ID NO: 1927.358 A - C]
Attributions and conjectures
[Source - MAA, 2012:
Description: Three bead necklaces with small bits of wood hanging from them - MAA (01/11/1998)
Local:
Maker:
Cultural Group: Zulu
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa; Transkei - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 22/07/2008
Created:]
Published
[Source - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.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 title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Debra Pryor for FHYA, 2019: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 object identified by Nessa Leibhammer for FHYA using MAA materials as "headrest", labels, a catalogue card and an annual report page.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 109362; ID NO: 1927.374 A - B]
Attributions and conjectures
[Source - MAA, 2012:
Name: Headrest - MAA (01/12/1998)
Classified:
Keyword: Furniture
Material: Wood
Descriptions: Two headrests of wood. A: with fluted feet. Zulu. B: native name 'kamelo' from Zululand. Light wood stained dark and then incised leaving a geometric design in natural colour. Zulu. Collected 1903. 'A: top broken and mended with wire, ?original repair.' K. Sutton 13/12/2001' - MAA (01/12/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/12/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 03/12/2004
Created: 01/12/1998]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 109362; ID NO: 1927.374 A - B]
Attributions and conjectures
[Source - MAA, 2012:
Name: Headrest - MAA (01/12/1998)
Classified:
Keyword: Furniture
Material: Wood
Descriptions: Two headrests of wood. A: with fluted feet. Zulu. B: native name 'kamelo' from Zululand. Light wood stained dark and then incised leaving a geometric design in natural colour. Zulu. Collected 1903. 'A: top broken and mended with wire, ?original repair.' K. Sutton 13/12/2001' - MAA (01/12/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/12/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 03/12/2004
Created: 01/12/1998]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 109362; ID NO: 1927.374 A - B]
Attributions and conjectures
[Source - MAA, 2012:
Name: Headrest - MAA (01/12/1998)
Classified:
Keyword: Furniture
Material: Wood
Descriptions: Two headrests of wood. A: with fluted feet. Zulu. B: native name 'kamelo' from Zululand. Light wood stained dark and then incised leaving a geometric design in natural colour. Zulu. Collected 1903. 'A: top broken and mended with wire, ?original repair.' K. Sutton 13/12/2001' - MAA (01/12/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/12/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 03/12/2004
Created: 01/12/1998]
Published
[Source - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 109362; ID NO: 1927.374 A - B]
Attributions and conjectures
[Source - MAA, 2012:
Name: Headrest - MAA (01/12/1998)
Classified:
Keyword: Furniture
Material: Wood
Descriptions: Two headrests of wood. A: with fluted feet. Zulu. B: native name 'kamelo' from Zululand. Light wood stained dark and then incised leaving a geometric design in natural colour. Zulu. Collected 1903. 'A: top broken and mended with wire, ?original repair.' K. Sutton 13/12/2001' - MAA (01/12/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/12/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 03/12/2004
Created: 01/12/1998]
Published
[Source - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 for FHYA using MAA materials as "wood beads", a label, a catalogue card and an annual report page.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.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 title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
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.
Additional title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
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.
Additional title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.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 title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Debra Pryor for FHYA, 2019: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 object identified by Nessa Leibhammer for FHYA using MAA materials as "bracelet" and an annual report.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107010, ID NO: 1927.427]
Attributions and conjectures
[Source - MAA, 2012:
Name: Bracelet - MAA (01/11/1998)
Classified:
Keyword: Personal Adornment
Material: Shell; Skin
Descriptions: Bracelet formed of two rows of shell - MAA (01/11/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 03/12/2004
Created: 01/11/1998]
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.
Additional title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Debra Pryor for FHYA, 2019: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 object identified by Nessa Leibhammer for FHYA using MAA materials as "axe", a catalogue card and an annual report.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107010; ID NO: 1927.431]
Attributions and conjectures
[Source - MAA, 2012:
Name: Axe
Classified:
Keyword:
Material:
Descriptions: Axe with head of... shape... edge and long... which is engraved... Probably Zulu
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 03/12/2004
Created: 01/11/1998]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107010; ID NO: 1927.431]
Attributions and conjectures
[Source - MAA, 2012:
Name: Axe
Classified:
Keyword:
Material:
Descriptions: Axe with head of... shape... edge and long... which is engraved... Probably Zulu
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 03/12/2004
Created: 01/11/1998]
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 - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.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 title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Debra Pryor for FHYA, 2019: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 object identified by Nessa Leibhammer for FHYA using MAA materials as "bracelet", labels, and an annual report.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107083; ID NO: Z 23573]
Attributions and conjectures
[Source - MAA, 2012
Name: Bracelet - MAA (01/11/1998)
Classified:
Keyword: Personal Adornment
Material: Metal; Brass; Copper
Descriptions: Brass and copper wire bracelet. Outer rings of plain coiled copper, inner 3 rings of thick coiled and (double stranded) wrapped round brass. 3 brass bands hold it together and there is a hook and eye... - MAA (01/11/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 16/07/2008
Created: 01/11/1998]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107083; ID NO: Z 23573]
Attributions and conjectures
[Source - MAA, 2012
Name: Bracelet - MAA (01/11/1998)
Classified:
Keyword: Personal Adornment
Material: Metal; Brass; Copper
Descriptions: Brass and copper wire bracelet. Outer rings of plain coiled copper, inner 3 rings of thick coiled and (double stranded) wrapped round brass. 3 brass bands hold it together and there is a hook and eye... - MAA (01/11/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 16/07/2008
Created: 01/11/1998]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107083; ID NO: Z 23573]
Attributions and conjectures
[Source - MAA, 2012
Name: Bracelet - MAA (01/11/1998)
Classified:
Keyword: Personal Adornment
Material: Metal; Brass; Copper
Descriptions: Brass and copper wire bracelet. Outer rings of plain coiled copper, inner 3 rings of thick coiled and (double stranded) wrapped round brass. 3 brass bands hold it together and there is a hook and eye... - MAA (01/11/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 16/07/2008
Created: 01/11/1998]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107083; ID NO: Z 23573]
Attributions and conjectures
[Source - MAA, 2012
Name: Bracelet - MAA (01/11/1998)
Classified:
Keyword: Personal Adornment
Material: Metal; Brass; Copper
Descriptions: Brass and copper wire bracelet. Outer rings of plain coiled copper, inner 3 rings of thick coiled and (double stranded) wrapped round brass. 3 brass bands hold it together and there is a hook and eye... - MAA (01/11/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 16/07/2008
Created: 01/11/1998]
Published
[Source - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 107083; ID NO: Z 23573]
Attributions and conjectures
[Source - MAA, 2012
Name: Bracelet - MAA (01/11/1998)
Classified:
Keyword: Personal Adornment
Material: Metal; Brass; Copper
Descriptions: Brass and copper wire bracelet. Outer rings of plain coiled copper, inner 3 rings of thick coiled and (double stranded) wrapped round brass. 3 brass bands hold it together and there is a hook and eye... - MAA (01/11/1998)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date:
Place: Africa; Southern Africa; South Africa - MAA (01/11/1998)
Period:
Contexts: MAA (00/00/0000)
Updated: 16/07/2008
Created: 01/11/1998]
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.
Additional title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Debra Pryor for FHYA, 2019: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/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 object identified by Nessa Leibhammer for FHYA using MAA materials as "skirt/fragment", labels, and an annual report.]
[Source - Nessa Leibhammer for FHYA, 2012, using MAA materials: There were separate Ethnographical and Archaeological accession registers which ran concurrently from 1884 - 1917, with the ethnographic accessions numbered using the following format: ‘E’ and then ‘year accessioned’ followed by sequential numbering, e.g. E 1912.123. A single register was used from 1917 with no letter prefix, using the format of 'year accessioned' followed by sequential numbering. The Museum’s second curator Louis Clarke instigated a Z Register in January 1923, accessioning and entering objects that had not been recorded in the year of acquisition or that needed to be renumbered. These items were given Z numbers, using a ‘Z’ prefix and then sequential numbers, e.g. Z 1234. This numbering system for un-accessioned items found in the museum continued along side the normal accessioning procedure, using the relevant year of entry, until the late 1990s.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 123211; ID NO: Z 23598 A - B]
Attributions and conjectures
[Source - MAA, 2012:
Names: Skirt - MAA (10/12/2001) Fragment - MAA (10/12/2001)
Classified:
Keyword: Clothing
Material: ?Grass; ?Leather
Descriptions: Probably two fragments of same scented grass skirt. 'The material looks very much like leather. It is very fragile' - Rachel Hand 14/12/2001 - MAA (10/12/2001)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date: 1931
Place: Africa; Southern Africa; ?South Africa - MAA (10/12/2001)
Period:
Contexts: Original record not found. This record created from the Accession Register - MAA (10/12/2001)
Updated: 03/12/2004
Created: 10/12/2001]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 123211; ID NO: Z 23598 A - B]
Attributions and conjectures
[Source - MAA, 2012:
Names: Skirt - MAA (10/12/2001) Fragment - MAA (10/12/2001)
Classified:
Keyword: Clothing
Material: ?Grass; ?Leather
Descriptions: Probably two fragments of same scented grass skirt. 'The material looks very much like leather. It is very fragile' - Rachel Hand 14/12/2001 - MAA (10/12/2001)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date: 1931
Place: Africa; Southern Africa; ?South Africa - MAA (10/12/2001)
Period:
Contexts: Original record not found. This record created from the Accession Register - MAA (10/12/2001)
Updated: 03/12/2004
Created: 10/12/2001]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 123211; ID NO: Z 23598 A - B]
Attributions and conjectures
[Source - MAA, 2012:
Names: Skirt - MAA (10/12/2001) Fragment - MAA (10/12/2001)
Classified:
Keyword: Clothing
Material: ?Grass; ?Leather
Descriptions: Probably two fragments of same scented grass skirt. 'The material looks very much like leather. It is very fragile' - Rachel Hand 14/12/2001 - MAA (10/12/2001)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date: 1931
Place: Africa; Southern Africa; ?South Africa - MAA (10/12/2001)
Period:
Contexts: Original record not found. This record created from the Accession Register - MAA (10/12/2001)
Updated: 03/12/2004
Created: 10/12/2001]
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.
Accession numbers
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: Cat ID: 123211; ID NO: Z 23598 A - B]
Attributions and conjectures
[Source - MAA, 2012:
Names: Skirt - MAA (10/12/2001) Fragment - MAA (10/12/2001)
Classified:
Keyword: Clothing
Material: ?Grass; ?Leather
Descriptions: Probably two fragments of same scented grass skirt. 'The material looks very much like leather. It is very fragile' - Rachel Hand 14/12/2001 - MAA (10/12/2001)
Local:
Maker:
Cultural Group:
Author:
Date Made:
Dimensions:
Source: Ridgeway
Source Date: 1931
Place: Africa; Southern Africa; ?South Africa - MAA (10/12/2001)
Period:
Contexts: Original record not found. This record created from the Accession Register - MAA (10/12/2001)
Updated: 03/12/2004
Created: 10/12/2001]
Published
[Source - Rachel Hand for MAA, 2016: The Museum’s catalogue cards and labels are part of the institution' and the objects' very history. Catalogue cards were created to add additional object information from the very first accessions back in 1884 and replacement cards were made if the original was lost, usually using both different pens and terms. Original sale or collector labels could be stuck to the cards to add biographical layers of information in the same way that letters and later photographs were sometimes attached to cards. Staff and sometimes visitors would add comments on provenances, measurements and locations over time. Reconnecting an author with their annotations can add to our knowledge of the object’s history and associations. The era and author of the cards also is reflected in their physical aspects: initially details were handwritten in ink, the 1930s saw cards stamped and written on a typewriter, followed variously by handwritten details in ballpoint pen, finally moving to word-processed and laser printed texts.
Like the cards the physical type of paper and pen used can suggest dates as well as authors. They can be used to confirm the identity of misplaced objects, e.g. Henry Bulwer’s collection bears distinctive long, rectangular shaped paper labels and his cursive script.
Early labels were handwritten in ink, on small rectangular paper or parchment label and tied through small metal reinforced holes. Others were glued directly to the object. Smaller rectangular or square paper labels, with a printed outline, usually stuck directly to the object, usually originate in late nineteenth or early twentieth century salerooms or via a collector. Larger circular, metal-edged labels were written in the museum, probably from the 1970s onwards. The 1980s bought larger labels on thick yellow paper, and remained handwritten. From c.2000, we have used acid-free yellowish paper labels, that are written on in light-sensitive and waterproof ink.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.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 title information
[Source - Nessa Leibhammer for FHYA using MAA materials, 2012: MAA Ann Rep. 41: Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927. Report of the Faculty Board of Archaeology and Anthropology. 1 March 1927, cont… Ridgeway bequest]
Published
[Source - Debra Pryor for FHYA, 2019: A selection of related pages from the relevant Museum of Archaeology and Anthropology's Annual Report. The MAA has digistised all their annual reports and made them publicly available. For enquiries visit the MAA website: http://maa.cam.ac.uk/category/research/research-visits/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.