id: 115162 accession number: 1935.309 share license status: CC0 url: https://clevelandart.org/art/1935.309 updated: 2020-11-14 10:00:45.050000 Jewelry, 1800s. Guinea Coast, Ghana, Asante, 19th century. Gold; overall: 6.4 x 2.1 cm (2 1/2 x 13/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 1935.309 title: Jewelry title in original language: series: series in original language: creation date: 1800s creation date earliest: 1800 creation date latest: 1899 current location: 108C Akan & Yoruba creditline: Dudley P. Allen Fund copyright: --- culture: Guinea Coast, Ghana, Asante, 19th century technique: Gold department: African Art collection: African Art type: Jewelry find spot: catalogue raisonne: --- CREATORS --- measurements: Overall: 6.4 x 2.1 cm (2 1/2 x 13/16 in.) state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Perfect Documents: Walker Evans and African Art opening date: 2000-02-01T00:00:00 Perfect Documents: Walker Evans and African Art. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000). title: The Power of Gold: Asante Royal Regalia from Ghana opening date: 2018-04-15T04:00:00 The Power of Gold: Asante Royal Regalia from Ghana. The Dallas Museum of Art, Dallas, TX (organizer) (April 15-August 12, 2018). --- LEGACY EXHIBITIONS * NY, Museum of Modern Art, 1935: "African Negro Art," cat. no. 162, (also to CMA 9/27 - 10/27, 1935).
NY: The Metropolitan Museum of Art. "Perfect Documents: Walker Evans and African Art" 2/1/00 - 9/3/00, exh. cat. no. 18, p. 68. --- PROVENANCE Treasury of King Prempeh date: before 1896-? footnotes: citations: (Charles Ratton, Paris, sold to the Cleveland Museum of Art) date: ?-1935 footnotes: citations: The Cleveland Museum of Art, Cleveland, OH date: 1935- footnotes: citations: --- fun fact: digital description: wall description: Shared by different Akan and Akan-related peoples, including the Asante and Baule, gold ornaments indicate status and wealth and are worn at public festivals by titleholders, chiefs, and kings. Most pectoral disks are suspended over the chest by a white, pineapple-fiber cord. They are owned by the okra, a young official who purifies the chief’s soul--hence, the name akrafokonmu, meaning "soul-washer’s badges" or "soul disks." --- RELATED WORKS --- CITATIONS Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. African Negro Art. New York: Museum of Modern Art, 1935. page number: Mentioned: p. 39, no. 162. url: Webb, Virginia-Lee, and Walker Evans. Perfect Documents: Walker Evans and African Art, 1935. New York: Metropolitan Museum of Art, 2000. page number: Mentioned: p. 22; reproduced: p. 23, fig. 13, p. 68, no. 18. url: Petridis, Constantine. "A World of Great Art for Everyone." In Representing Africa in American Art Museums: A Century of Collecting and Display. Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011. page number: Mentioned: p. 112 url: Brooklyn Museum. Masterpieces of African Art. Exhibition Dates: October 21, 1954-January 2, 1955. [Brooklyn]: Brooklyn Museum, 1954. page number: Mentioned: p. 39 url: Robbins, Warren M., and Nancy Ingram Nooter. African Art in American Collections, Survey 1989. Washington: Smithsonian Institution Press, 1989. page number: Reproduced and mentioned: p. 202-203, fig 516 url: Walker, Roslyn A., Martha J. Ehrlich, Christraud M. Geary, M. D. McLeod, and Doran H. Ross. The Power of Gold: Asante Royal Regalia from Ghana. Yale University Press, New Haven and London. Dallas : Dallas Museum of Art, 2018. page number: Reproduced: p. 95, cat. 43 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1935.309/1935.309_web.jpg print: https://openaccess-cdn.clevelandart.org/1935.309/1935.309_print.jpg full: https://openaccess-cdn.clevelandart.org/1935.309/1935.309_full.tif