Everyone has heard of the workhouse. But exactly what was it? Who went there? And how did an institution so universally hated come to be set up? This title tells the story from its first beginnings in Elizabethan times until the final demise of the union in the 1940s.

Gold of the Akan from the Glassell Collection

Crafts, Hobbies & Home

Ross, Doran H.

Marzio, Frances

Crafts & Hobbies

Merrell Publishers

<p>Since ancient times, gold has been a highly prized metal throughout the world. In sub-Saharan West Africa, where gold is found in both rivers and fields, the art of the goldsmith has flourished for centuries at the courts of royal chiefs. Still used today, beautifully crafted gold objects are an essential part of African court ceremonies, demonstrating power and prestige, and promoting political unity. The royal courts of the Akan peoples in Ghana are the most spectacular in Africa. Lavish processions and ceremonies relate the history, beliefs and power of the state. Court regalia - including gold jewellery, headdresses, swords and sword ornaments, as well as colourful textiles and umbrellas - are invested with special meaning. These objects all relate to a combination of visual and verbal traditions. The extensive collection of African gold assembled by Alfred C. Glassell, Jr., is considered the finest of its kind anywhere in the world, and was given to the Museum of Fine Arts, Houston, in 1997. This fascinating and beautifully illustrated book is the first to focus on this extraordinary collection, and brilliantly reveals the ingenuity and creativity of African artists.</p>

Museum of Fine Arts, Houston

Visions of Africa: The Jerome L Joss Collection of African Art at UCLA

Arts & Photography

University of California, Los Angeles Fowler Museum of Cultural histor

Collections, Catalogs & Exhibitions

Univ of California Museum of

Isn't S/He a Doll: Play and Ritual in African Sculpture

Cameron, Elisabeth Lynn

From Preface:  "This publication challenges the prevailing opinion among scholars of African art that the word doll is an inappropriate designation for many genres of African art to which it is often applied.  The word, it seems, evokes a limited set of images that are incompatible with the stereotype of African sculpture as objects laden with ritual and religious associations, associations which to many minds preclude any consideration of play as part of their existence.  Our basic premise for this volume is that the problem is not the application of doll to African contexts but rather a profound misunderstanding of what a doll is.  Playing with dolls, we argue, is serious business, and we in the United States and elsewhere in the Western world probably take ours too lightly.  While the average parent views these figures as relatively inconsequential objects, it is becoming increasingly clear to social scientists that they can be active in establishing value systems and constructing identities...."

Sculpture

<p>Kente is not only the best known of all African textiles, it is also one of the most admired of all fabrics worldwide. Originating among the Asante peoples of Ghana and the Ewe peoples of Ghana and Togo, this brilliantly colored and intricately patterned strip-woven cloth was traditionally associated with royalty. Over time, however, it has come to be worn and used in many different contexts. In Wrapped in Pride, seven distinguished scholars present an exhaustive examination of the history of kente from its earliest use in Ghana to its present-day impact in the African Diaspora.</p>

Wrapped in Pride: Ghanaian Kente and African American Identity (UCLA Fowler Museum of Cultural History Textile Series)

Newark Museum

Silverman, Raymond Aaron

Adedze, Agbenyega

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