INVOICE The Listenbee Collection
2108 Busse Hwy Des Plaines, Illinois 60016
Date To Ship To
November 20, 2021 Randy & Tina Harris Randy & Tina Harris
11904 Honor Bridge Farm Drive 11904 Honor Bridge Farm Drive
Spotsylvania, VA 22551 Spotsylvania, VA 22551
No. Description Total
1 $ 1,350.00
2 Untitled Abstract $ 3,600.00
3 Original mixed media on circa 1950 $ 1,620.00
4 Artist: William Carter (1909-1986) $ 4,500.00
5 Image Size: 12"x18" $ 1,350.00
6 Origin: Chicago, Illinois 1950 $ 1,350.00
7 Unitiled Portrait, 1961 $ 1,350.00
8 Original pen and ink on paper $ 1,350.00
Artist: Margaret Burroughs (1915-2010)
Image Size: 16"x18"
Origin: Chicago, Illinois 1961
Abstract Figures (Two Paintings)
Original pen and ink on paper, 1961
Artist: Attributed to William Walker
Image Size: 12"x16"
Origin: Chicago, Illinois 1961
Portrait of Uncle Ismail, 1967
Original etching on wood
Artist: John Biggers (1924-2001)
Image Size: 8"x10"
Origin: Houston, Texas 1967
Deep Thought
Original acrylic on paper
Artist: WE Brown
Image Size: 12"x14"
Origin: Chicago, Illinois
Bow & Arrows
Tribe: Xhosa peoples
Wood, string, & feathers
Case Size: 16"x30" approx.
Origin: South Africa, collected in 1984
The Union
Original acrylic on canvas
Artist: Bartana
Image Size: 16"x20"
Origin: Haiti
Cleanup
Original pastel on paper
Artist: Enoch Tshabalala
Image Size: 19.5"x25.5"
Origin: South Africa
INVOICE The Listenbee Collection
2108 Busse Hwy Des Plaines, Illinois 60016
No. Description Total
9 $ 1,620.00
10 Township Young Ones Playing In Soweto II $ 4,500.00
11 Original hand colored etching $ 1,350.00
12 Artist: Erich Mbatha $ 1,062.50
13 Image Size: 10"x16" $ 1,125.00
14 Origin: Soweto, South Africa $ 1,350.00
15 Musicians $ 1,350.00
16 Original acrylic on board $ 1,350.00
17 Artist: Abioloa Akintola $ 436.50
Image Size: 30"x48"
Origin: Chicago, Illinois
Still Life
Original oil on board, circa 1950
Artist: Zel Yarnbao
Image Size: 20"x24"
Origin: Chicago, Illinois
Pool Scene
Limited Edition Lithograph
Artist: Frank Morrison, 2004
Image Size: 26"x34"
Origin: New Jersey, 2004
The Family
Original aquatint on rives paper
Artist: Michel Matthonat
Image Size: 13"x17.5"
Origin: Paris, France
Teachers & Students
Original oil on paper
Artist: Solomon Sekhaolelo
Image Size: 16.75"x17.5"
Origin: Soweto, South Africa
The Dance
Original oil on paper
Artist: Solomon Sekhaolelo
Image Size: 16"x23" inches
Origin: Soweto, South Africa
Young Man
Original oil on board
Artist: Rozelli
Image Size: 12"x16"
Origin: South Africa
Zulu Shield
Tribe: Zulu peoples, South Africa
Cowhide, wood, Hand-Woven
Size: 54" approx.
Origin: South Africa
INVOICE The Listenbee Collection Total
$ 4,500.00
2108 Busse Hwy Des Plaines, Illinois 60016
$ 722.50
No. Description
$ 2,520.00
18 Hunters Tunic
Tribe: Bamana peoples $ 2,500.00
Fabric, wood, bone, leather, hair, mirror $ (856.50)
Frame Size: 36"x48" aprox. $ 40,000.00
Origin: Mali
19 Mother & Child
Original giclee on paper
Artist: Robert Lowe
Image Size: 12"x16"
Origin: Los Angeles, California
20 Women, The Foundation
Original collage on paper, 12/18/2009
Artist: Margaret Burroughs (1915-2010)
Image Size: 18"x24" approx.
Origin: Chicago, Illinois
Delivery & Installation
Additional Discount
Final Price
Certificate of Authenticity
This is to certify the artwork pictured below, entitled
Untitled Abstract
Artist: William Carter (1909-1986)
Original oil on canvas, circa 1950
Image Size: 12”x18”
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
William S. Carter 1909–1996
Barred from attending the racially segregated art schools in his
native Missouri, African American artist William Sylvester Carter
arrived in Chicago in 1930 with a scholarship to study at the School
of the Art Institute of Chicago. Struggling to support himself, he
attended sporadically before enrolling in the University of Illinois at
Champaign-Urbana in 1935; eventually—in the 1950s—he earned
both a BA and a BFA there. He also studied art at the South Side
Settlement House (now Ada S. McKinley Community Services).
Carter began exhibiting his work in Chicago in 1934, only slowly
garnering recognition, while supporting himself with menial jobs that
included serving as a janitor at the Palette and Chisel Club, an all-
white artists’ organization. The cluster of federal Depression relief
programs known as the WPA were a boon to Carter’s artistic
career, although he began there as a laborer on the construction of
a park swimming pool, among other activities. On the Illinois Art
and Craft Project he helped make display dioramas for the new
Museum of Science and Industry. Later hired for the Easel Division
of the WPA’s Illinois Art Project, he exhibited at the WPA Gallery on
Michigan Avenue; he also showed his work at the commercial
Benjamin Gallery, the Hull-House settlement house, and the art
show of the 1940 American Negro Exposition at the Chicago
Coliseum.
Carter was part of a vibrant creative cohort present at the birth of
the South Side Community Art Center in 1940; the only community
art center founded in Illinois as part of a dedicated WPA program to
nurture art in underserved communities, it is the only one in the
nation that survives today. Supporting funds were raised at annual
“artists and models balls,” for which Carter was among the artists
who contributed designs for costumes, decorations, and posters. In
1940 Carter was included in Alain Locke’s book The Negro in Art, a
survey of African American artists, and the following year he was
represented in an important exhibition of African American art past
and present held at the Downtown Gallery in New York. Further
recognition followed, despite Carter’s struggles to make art while
supporting himself with other work.
Using watercolor, tempera paint, oils, and ink, Carter explored a
variety of styles and subjects that ranged from landscapes, figural
images, and abstract compositions to the floral still-life
arrangements and images of ballerinas that became his signature
themes. Prolifically and perennially creative, Carter taught at the
South Side Community Art Center. He also served as a substitute
teacher in Chicago Public Schools, painted decorative shower
curtains, did manual labor for R.R. Donnelley & Sons printing
company, and worked as a porter on cross-country trains, among
other jobs. In his last years, with increasing attention paid to African
American art, Carter was featured in several solo and group
exhibitions, while continuing to make art in his small apartment in
senior-citizen public housing on Chicago’s North Side until shortly
before his death.
Certificate of Authenticity
This is to certify the artwork pictured below, entitled
Untitled Portrait
Artist: Margaret Burroughs (1915-2010)
Original pen and ink on paper, 1961
Image Size: 16”x18”
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
Certificate of Authenticity
This is to certify the artwork pictured below, entitled
Women, The Foundation
Artist: Margaret Burroughs (1915-2010)
Original collage on paper, 12/18/2009
Image Size: 18"x24" approx.
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
1/22/22, 1:44 PM Margaret Taylor-Burroughs - Wikipedia
Margaret Taylor-Burroughs
Margaret Taylor-Burroughs (November 1, 1915[1][2] – Margaret Burroughs
November 21, 2010), also known as Margaret Taylor Goss,
Margaret Taylor Goss Burroughs or Margaret T G Born November 1, 1915
Burroughs, was an American visual artist, writer, poet, St. Rose, Louisiana,
educator, and arts organizer. She co-founded the Ebony Museum U.S.
of Chicago, now the DuSable Museum of African American
History. An active member of the African-American community, Died November 21, 2010
she also helped to establish the South Side Community Art (aged 95)
Center, whose opening on May 1, 1941[3] was dedicated by the Chicago, Illinois,
First Lady of the United States Eleanor Roosevelt.[4] There, at the U.S.
age of 23, Burroughs served as the youngest member of its board
of directors. A long-time educator, she spent most of her career at Nationality American
DuSable High School. Taylor-Burroughs was a prolific writer,
with her efforts directed toward the exploration of the Black Education Englewood High
experience and toward children, especially to their appreciation of School (now
their cultural identity and to their introduction and growing Englewood
awareness of art. She is also credited with the founding of Technical Prep
Chicago's Lake Meadows Art Fair in the early 1950s. Academy), Chicago
Chicago Teacher's
Contents College (now
Chicago State
Early life and education University)
Professional life School of the Art
The DuSable Museum Institute of Chicago
Spanning the racial divide through art
Public recognition Organization South Side
Selected writings Community Art
References Center
DuSable Museum of
Further reading African American
External links History
Early life and education Spouse(s) Bernard Goss
Burroughs was born Victoria Margaret Taylor in St. Rose, 1/7
Louisiana, where her father worked as a farmer and laborer at a
railroad warehouse and her mother as a domestic. She was raised
there as a Catholic.[5]
https://en.wikipedia.org/wiki/Margaret_Taylor-Burroughs
1/22/22, 1:44 PM Margaret Taylor-Burroughs - Wikipedia
The family moved to Chicago in 1920, when she was five years Children Charles Gordon
old.[6] There she attended Englewood High School along with Parent(s) Burroughs
Gwendolyn Brooks, who in 1985-1986 served as Consultant in Awards
Gayle Goss Toller
Poetry to the Library of Congress (now United States Poet Paul Burroughs
Laureate). As classmates, the two joined the NAACP Youth
Council. Burroughs earned her teacher's certificates from Chicago Alexander Taylor
Teachers College in 1937. She helped found the South Side Octavia Pierre Taylor
Community Arts Center in 1939 to serve as a social center, gallery,
President's
and studio to showcase African American artists. In 1946, Taylor- Humanitarian Award
Burroughs earned a Bachelor of Arts degree in art education from (President Gerald
the School of the Art Institute of Chicago where she also earned Ford), 1975
her Master of Arts degree in art education, in 1948. Taylor- Women's Caucus for
Burroughs married the artist Bernard Goss (1913–1966), in 1939, Art Lifetime
and they divorced in 1947. In 1949, she married Charles Gordon Achievement Award,
1988
Burroughs and they remained married for 45 years until his death
in 1994.[7]
Professional life Paul Robeson
Award, 1989
Art Institute of
Taylor-Burroughs taught at DuSable High School on Chicago's Chicago's Legends
South side from 1946 to 1969, and from 1969 to 1979 was a and Legacy Award,
professor of humanities at Kennedy-King College, a community 2010
college in Chicago. She also taught African American Art and
Culture at Elmhurst College in 1968. She was named Chicago Park District Commissioner by Harold
Washington in 1985, a position she held until 2010.
She died on November 21, 2010.[8]
The DuSable Museum
Margaret and her husband Charles co-founded what is now the DuSable Museum of African American
History in Chicago in 1961. The institution was originally known as the Ebony Museum of Negro
History and Art and made its debut in the living room of their house at 3806 S. Michigan Avenue in
the Bronzeville neighborhood on Chicago's south side,[9] and Taylor-Burroughs served as its first
Executive Director.[10] She was proud of the institution's grass-roots beginnings: "We're the only one
that grew out of the indigenous Black community. We weren't started by anybody downtown; we were
started by ordinary folks."[11] Burroughs served as Executive Director until she retired in 1985 and
was then named Director Emeritus, remaining active in the museum's operations and fundraising
efforts.[12]
The museum moved to its current location at 740 E. 56th Place in Washington Park in 1973, and
today is the oldest museum of black culture in the United States. Both the current museum building,
and the Burroughs' S. Michigan Avenue home are now listed on the National Register of Historic
Places, and the house is a designated Chicago landmark.
Spanning the racial divide through art
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The first home of the DuSable Museum of African Margaret Burroughs has created many of her own
American History was located in this house, built works of art as well. In one of Burroughs' linocuts,
for Chicago contractor John W. Griffiths in 1892 Birthday Party, both black and white children are seen
and purchased by Charles and Margaret
Burroughs in 1959. celebrating. The black and white children are not
isolated from each other; instead they are intermixed
and mingling around the table together waiting for a
birthday cake.[13] An article published by The Art
Institute of Chicago described Burroughs' Birthday
Party and said: "Through her career, as both a visual
artist and a writer, she has often chosen themes
concerning family, community, and history. 'Art is
communication,' she has said. 'I wish my art to speak
not only for my people - but for all humanity.' This aim
is achieved in Birthday Party, in which both black and
white children dance, while mothers cut cake in a
quintessential image of neighbors and family enjoying
a special day together."[14] The painting puts in visual
form Burroughs' philosophy that "the color of skin is a
minor difference among men which has been stretched
beyond its importance."[15]
Burroughs was impacted by Harriet Tubman, Gerard L. Lew, Sojourner Truth, Frederick Douglass,
and W.E.B. Du Bois. In Eugene Feldman's The Birth and Building of the DuSable Museum, Feldman
writes about the influence Du Bois had on Burroughs' life. He believes that Burroughs greatly admired
Du Bois and writes that she campaigned to bring him to Chicago to lecture to audiences. Feldman
wrote: "If we read about 'cannabalistic and primitive Africa,'… it is a deliberate effort to put down a
whole people and Dr. Du Bois fought this… Dr. Burroughs saw Dr. Du Bois and what he stood for and
how he suffered himself to attain exposure of his views. She identified entirely with this important
effort." Therefore, Burroughs clearly believed in Dr. Du Bois and the power of his message.[16]
In many of Burroughs' pieces, she depicts people with half black and half white faces. In The Faces of
My People, Burroughs carved five people staring at the viewer. One of the women is all black, three of
the people are half black and half white and one is mostly white. While Burroughs is attempting to
blend together the black and white communities, she also shows the barriers that stop the
communities from uniting. None of the people in The Faces of My People are looking at each other,
and this implies a sense of disconnect among them.[13] On another level, The Faces of My People
deals with diversity. An article from the Collector magazine website describes Burroughs' attempts to
unify in the picture. The article says, "Burroughs sees her art as a catalyst for bringing people
together. This tableau of diverse individuals illustrates her commitment to mutual respect and
understanding."[17]
Burroughs once again depicts faces that are half black and half white in My People. Even though the
title is similar to the previously referenced piece, the woodcut has some differences. In this scene,
there are four different faces – each of which is half white and half black. The head on the far left is
tilted to the side and close to the head next to it. It seems as both heads are coming out of the same
body – taking the idea of split personalities to the extreme. The women are all very close together,
suggesting that they relate to each other. In The Faces of My People, there were others pictured with
different skin tones, but in My People all of the people have the same half black and half white split.
Therefore, My People focuses on a common conflict that all the women in the picture face.[18]
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Public recognition
1973 Young Women's Christian Association leadership award for excellence in art.
1975 The President's Humanitarian Award.[12]
1982 Excellence in Art Award, National Association of Negro Museums.
1988 The Lifetime Achievement Award by the Women's Caucus for Art, Museum of Fine Arts,
Houston.[19]
1988 Progressive Black Woman's Award, Enverite Charity Club.
1989 The Paul Robeson Award.
2010 The Legends and Legacy Award, a program of the Leadership Advisory Committee of the
Art Institute of Chicago.[20]
2015 Inducted into the Chicago Literary Hall of Fame.[21]
On August 12, 2015, the Chicago Park District board voted to rename 31st Street Beach after
Margaret Taylor-Burroughs. Burroughs had served as a commissioner on the park board for
twenty-five years.[22]
The holdings of the Koehnline Museum of Art at Oakton Community College include a collection
of fifteen of Burroughs' linocut prints from the 1990s.[23]
The Muscarelle Museum of Art exhibited Burroughs' "Black Venus" in an exhibition titled "Building
on the Legacy: African American Art from the Permanent Collection" from September 2, 2017 -
January 14, 2018.[24]
Selected writings
Jasper, the drummin' boy (1947)
Celebrating Negro History and Brotherhood: A Folio of Prints by Chicago Artists (1956)
Whip me whop me pudding, and other stories of Riley Rabbit and his fabulous friends (1966)
What shall I tell my children who are Black? (1968)
Did you feed my cow? Street games, chants, and rhymes (1969)
For Malcolm; poems on the life and the death of Malcolm X Dudley Randall and Margaret G.
Burroughs, editors (1969)
Africa, my Africa (1970)
What shall I tell my children?: An addenda (1975)
Interlude: seven musical poems by Frank Marshall Davis, Margaret T. Burroughs, editor. (1985)
Minds flowing free: original poetry by "The Ladies" women's division of Cook County Department
of Corrections, Margaret Taylor-Burroughs, editor (1986)
The Family Linocut (1986)
A very special tribute in honor of a very special person, Eugene Pieter Romayn Feldman, b. 1915-
d. 1987 - poems, essays, letters by and to Eugene Pieter Romayn Feldman Margaret T.
Burroughs, editor (1988)
His name was Du Sable and he was the first (1990)
Africa name book (1994)
A shared heritage: art by four African Americans by William E. Taylor and Harriet G. Warkel with
essays by Margaret T. G. Burroughs and others (1996)
The Beginner's Guide to Collecting Fine Art, African American Style Ana M. Allen and Margaret
Taylor Burroughs (1998)
The tallest tree in the forest (1998)
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1/22/22, 1:44 PM Margaret Taylor-Burroughs - Wikipedia
Humanist and glad to be (2003)
My first husband & his four wives (me, being the first) (2003)
References
1. "Library of Congress Authority Record for Burroughs, Margaret Taylor, 1915-2010" (http://authoriti
es.loc.gov/).
2. Grimes, William. "Margaret T. Burroughs, Archivist of Black History, Dies at 95" (https://www.nytim
es.com/2010/11/28/arts/28burroughs.html). New York Times. Retrieved July 20, 2012.
3. Mullen, Bill V. (1999). Popular Fronts: Chicago and African-American Cultural Politics, 1935-46.
Champaign: The University of Illinois Press. p. 1. ISBN 0-252-02440-0.
4. " "Big Shoulders": The South Side Community Art Center, A Cultural Institution" (http://www.chicag
onow.com/blogs/ndigo-fine-art-south-roosevelt-road/2009/11/south-side-community-art-centera-1.
html). Chicago Now. Retrieved November 22, 2010.
5. Rocksborough-Smith, Ian (2011). "Margaret T.G. Burroughs and Black Public History in Cold War
Chicago" (https://www.jstor.org/stable/10.5816/blackscholar.41.3.0026). The Black Scholar. 41 (3):
26–42. doi:10.5816/blackscholar.41.3.0026 (https://doi.org/10.5816%2Fblackscholar.41.3.0026).
ISSN 0006-4246 (https://www.worldcat.org/issn/0006-4246).
JSTOR 10.5816/blackscholar.41.3.0026 (https://www.jstor.org/stable/10.5816/blackscholar.41.3.0
026). S2CID 146200073 (https://api.semanticscholar.org/CorpusID:146200073).
6. Gumbo Ya Ya: Anthology of Contemporary African-American Women Artists. MidMarch: New
York, 1995
7. "DuSable Museum founder was 'a model for dreaming big' " (http://www.chicagobreakingnews.co
m/2010/11/dusable-museum-founder-was-a-model-for-dreaming-big.html). The Chicago Breaking
News Center. Retrieved November 22, 2010.
8. "Pioneering Dusable Museum Founder Dead At 93" (https://www.npr.org/templates/story/story.ph
p?storyId=131515182). National Public Radio. November 22, 2010. Retrieved September 13,
2012. "Margaret Burroughs, an artist, poet and founder of one of the oldest African-American
History museums in the US, has died. Burroughs co-founded the Dusable Museum of African
American History in Chicago along with her late husband Charles Burroughs in 1961. She was
95."
9. Simpson, Moira G. (1966). Making Representations - Museums in the Post-Colonial Era. London:
Routledge. p. 97.
10. "City of Chicago Landmarks Designation Report - Griffiths-Burroughs House" (http://www.cityofchi
cago.org/dam/city/depts/zlup/Historic_Preservation/Publications/Griffiths_Burroughs_House.pdf)
(PDF).
11. "DuSable Museum Announces the Passing of Founder Dr. Margaret T. Burroughs" (http://www.du
sablemuseum.org/news/dusable-museum-announces-the-passing-of-founder-dr.-margaret-t.-burr
oughs/). The DuSable Museum. Retrieved November 25, 2010.
12. "Margaret Burroughs papers" (https://docs.google.com/file/d/0B1yTfZUgTvlpcnpqNEFYVVRqdmc/
edit), 07/06/2012. Finding aid at the DuSable Museum of African American History, Chicago, IL.
13. "Margaret Burroughs Collection" (https://archive.today/20120805140753/http://www.oakton.edu/m
useum/burr.html). Archived from the original (http://www.oakton.edu/museum/burr.html) on 2012-
08-05.
14. Barnwell, Andrea. "A Portfolio of Works by African Artists Continuing the Dialogue: A Work in
Progress". JSTOR 4112968 (https://www.jstor.org/stable/4112968).
15. Schultz, Terri (May 11, 1969). "She builds bridges between races - Human relations: A lifetime
job". The Chicago Tribune: N4.
https://en.wikipedia.org/wiki/Margaret_Taylor-Burroughs 5/7
1/22/22, 1:44 PM Margaret Taylor-Burroughs - Wikipedia
16. Feldman, Eugene (1981). The Birth and the Building of the DuSable Museum. DuSable Museum
Press. pp. 25–29.
17. "The Kinsey Collection: Shared Treasures of Bernard and Shirley Kinsey" (https://archive.today/20
120714172747/http://thennamdi.com/public/thecollectorsmagazine.com/gk_musicity_quickstart_J!
15/index.php?option=com_k2&view=itemlist&task=user&id=62:administrator&Itemid=27&limitstart
=8). Archived from the original (http://thennamdi.com/public/thecollectorsmagazine.com/gk_musici
ty_quickstart_J!15/index.php?option=com_k2&view=itemlist&task=user&id=62%3Aadministrator&
Itemid=27&limitstart=8) on 2012-07-14.
18. "White Linen Nights" (http://www.thelmaharrisartgallery.com/white-linen-10/). Thelma Harris Arts
Gallery.
19. "WCA Past Honorees" (http://nationalwca.org/awards/pasthonorees.php). nationalwca.org.
20. Chapman, Emily (October 14, 2010). "Dr. Margaret Burroughs (MAAE 1948) To Receive Legacy
Award" (https://web.archive.org/web/20150110082456/http://my.saic.edu/news/50832/). The Art
Institute of Chicago. Archived from the original (http://my.saic.edu/news/50832/) on January 10,
2015. Retrieved September 14, 2012.
21. "The Chicago Literary Hall of Fame - Biography:Margaret Taylor-Burroughs" (https://chicagoliterar
yhof.org/inductees/profile/margaret-t.-burroughs). chicagoliteraryhof.org.
22. "Editorial: Remembering and honoring Margaret Burroughs" (https://web.archive.org/web/2015081
6205803/http://chicago.suntimes.com/opinion/7/71/872827/editorial-40). The Chicago Sun-Times.
Archived from the original (http://chicago.suntimes.com/opinion/7/71/872827/editorial-40) on
2015-08-16. Retrieved 2015-08-13.
23. "Koehnline Museum of Art: Permanent Collection - Margaret Burroughs Collection" (https://archiv
e.today/20120805140753/http://www.oakton.edu/museum/burr.html). Oakton Community College.
Archived from the original (http://www.oakton.edu/museum/burr.html) on August 5, 2012.
Retrieved November 23, 2010.
24. "Black Venus, (Linoleum cut on imitation Japan paper)" (https://proficio.campus.wm.edu/Rediscov
eryProficioPublicSearch/ShowItem.aspx?809+). Building on the Legacy: African American Art
from the Permanent Collection. Muscarelle Museum of Art. 2017–2018. Retrieved 20 Jun 2018.
Further reading
Beaulieu, Elizabeth Ann (April 2006). Writing African American Women (https://books.google.com/
books?id=ZbyBKRvoot8C&pg=PA135). Greenwood Publishing Group. pp. 135–.
ISBN 9780313024627. Retrieved November 29, 2012.
Burke, Sarah; Gibbs, Adrienne Samuels (February 20, 2018). "The Woman Who Helped Birth a
Black Artistic Renaissance in Chicago" (https://www.vice.com/en_us/article/bj5yz4/margaret-taylor
-burroughs-chicago-art-1940s). Vice (in American English). Retrieved 2019-07-26.
Cain, Mary Ann (October 2018). South Side Venus: The Legacy of Margaret Burroughs.
Northwestern University Press. ISBN 978-0810137950
Farris, Phoebe (1999). Women Artists of Color: A Bio-Critical Sourcebook to 20th Century Artists
in the Americas (https://books.google.com/books?id=wm7UNbstCvgC&pg=PA247). Greenwood
Publishing Group. pp. 247–. ISBN 9780313303746. Retrieved November 29, 2012.
Gibbs, Adrienne Samuels (February 20, 2018). "The Woman Who Helped Birth a Black Artistic
Renaissance in Chicago" (https://www.vice.com/en_us/article/bj5yz4/margaret-taylor-burroughs-c
hicago-art-1940s). Vice (in American English). Retrieved 2019-07-26.
External links
https://en.wikipedia.org/wiki/Margaret_Taylor-Burroughs 6/7
1/22/22, 1:44 PM Margaret Taylor-Burroughs - Wikipedia
History Makers (https://web.archive.org/web/20070929102636/http://www.thehistorymakers.com/b
iography/biography.asp?bioindex=39)
Alpha Kappa Alpha Sorority Authors (https://web.archive.org/web/20060903141347/http://dickins
g.intrasun.tcnj.edu/akaauthors2/Taylor.htm)
Margaret Burroughs finding aid (https://docs.google.com/file/d/0B1yTfZUgTvlpcnpqNEFYVVRqdm
c/edit)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Margaret_Taylor-Burroughs&oldid=1062583744"
This page was last edited on 29 December 2021, at 09:17 (UTC).
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Certificate of Authenticity
This is to certify the artwork pictured below, entitled
Abstract Figures (Two Paintings)
Artist: Attributed to William Walker (1927-2011)
Original pen and ink on paper, 1961
Image Size: 12”x16”
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
1/22/22, 1:47 PM William Walker (muralist) - Wikipedia
William Walker (muralist)
William Walker (May 9, 1927 - September 12, 2011) was a William Walker
notable muralist from Chicago. He was one of the founders of the
Organization of Black American Culture (OBAC) and one of the Born May 9, 1927[1]
leaders in the project involving the Wall of Respect. He was also Birmingham, Alabama
one of the critical founders of the mural movements in Chicago
during the 1960s. He has cited Jacob Lawrence, Charles White, Died September 12, 2011
and Chicago painter William McBride, as well as the work of (aged 84)
Mexican muralists Diego Rivera, David Alfaro Siqueiros, and Jose Chicago, Illinois
Clemente Orozco as important influences.[2][3]
Nationality American
Contents
Education Columbus Gallery of
Art
Known for Painting
Early life and education
Career
Selected works
Exhibitions
Awards and honors
Further reading
References
External links
Early life and education
William Walker was born in Birmingham, Alabama in 1927. His father left home shortly after he was
born and his mother, Millie Lee, moved to Chicago when he was two years old to find work. He was
raised mainly by his grandmother, Lucy Arnold, until 1938 when he moved to Chicago to live with his
mother. Walker was drafted during World War II and later reenlisted so he could get four years of
college tuition under the GI Bill. He was a mail clerk and then an MP with the 99th Pursuit
Squadron.[4] In 1949, after serving in both World War II and in the Korean War, Walker enrolled in
commercial art courses at the Columbus Gallery of Art in Columbus, Ohio (now Columbus College of
Art and Design). He switched majors from commercial to fine art halfway through his degree,
crediting his instructor Joseph Canzani for the change, and became the first African-American man to
win the school's 47th annual group exhibition award in 1952.[2]
Career
After graduating, he went to Memphis where he painted his first murals. A year later in 1955, Walker
returned to Chicago and worked as a decorative painter and a postal worker. In 1967, he participated
in a project related to the Organization for Black American Culture. This project was a community
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mural that would honor African American heroes and was named "The Wall of Respect". The Wall of
Respect started a nationwide movement of "people's art". From there, Walker cofounded the Chicago
Mural Group (now known as the Chicago Public Art Group) with John Pitman Weber and Eugene
Eda, while continuing to paint murals in Chicago. Walker painted murals to make the community
more aware of the racial strife going on in America at that time and to spur individuals to get more
involved in solving racial problems. Artist Murry DePillars, executive vice president of Chicago State
University and a member of AfriCobra once said of walker"...Bill didn't work to get a reputation or to
be written up. He was truly doing it for the community"[2]
William Walker was found dead of natural causes in his apartment in Chicago on September 12, 2011.
Selected works
Title Date Location Status
1967 Destroyed by fire, 1971
Wall of Respect 43rd Street and Langley Avenue,
1968 Chicago Destroyed by fire, 1971
Wall of Dignity Destroyed, 1991[5]
1968 Mack Avenue and Lillibridge,
Harriet Tubman Memorial Wall Detroit
1969
Wall of Truth Mack Avenue and Lillibridge,
1970 Detroit
Peace and Salvation: The Wall of 1971-
Understanding 73 43rd Street and Langley Avenue,
1975 Chicago
All of Mankind 1975
872 N. Orleans, Chicago
History of the Packing House Worker 1977
Wall of Daydreaming and Man's 617 W. Evergreen Ave, Chicago Whitewashed 2015
Inhumanity to Man 1977
4859 South Wabash, Chicago Restored, 1998
Childhood is Without Prejudice 1977 47th Street and Calumet Avenue, Restored, 2003[6]
1980 Chicago
Justice Speaks: Delbert Tibbs/New 1980 56th Street and Stony Island Restored, 1993 and 2009
Trial or Freedom 1982 Avenue, Chicago Destroyed in Metra
1983 renovation, 2001/2[7]
St. Martin Luther King 1984 57th Street and Lake Park, Chicago Destroyed after being
defaced[2]
Reaching Children/Touching People 49th Street and Martin Luther King
You Are as Good as Anyone Drive, Chicago
Reaganomics
Wall of Community Respect 975 E. 132nd Street, Chicago[8]
Peace, Peace
Tribute to Harold Washington 47th and Champlain
Exhibitions 2/4
"Images of Conscience: The Art of Bill Walker", Chicago State University, 1984
https://en.wikipedia.org/wiki/William_Walker_(muralist)
1/22/22, 1:47 PM William Walker (muralist) - Wikipedia
"Bill Walker: Urban Griot", Hyde Park Art Center, 2017–18
Awards and honors
1986: City Brightener Award, Bright New City[9]
1998: Hall of Honor, Illinois Labor History Society[10]
Further reading
Dunitz, Robin J., and James Prigoff. Walls of Heritage, Walls of Pride: African American Murals.
Rohnert: Pomegranate Communications, 2000.
Gray, Mary Lackritz. A Guide to Chicago's Murals. Chicago: University Of Chicago Press, 2001.
Gude, Olivia. Urban Art Chicago: A Guide to Community Murals, Mosaics, and Sculptures.
Chicago: Ivan R. Dee, Publisher, 2000.
Huebner, Jeff W. Walls of Prophecy & Protest: William Walker and the Roots of a Revolutionary
Public Art Movement. Northwestern University Press, 2019. ISBN 978-0-8101-4058-5
References
1. "William W Walker" (https://www.familysearch.org/ark:/61903/1:1:VZKH-QLL). Family Search.
Retrieved 12 January 2021.
2. Huebner, Jeff (1997-08-28). "Man Behind the Wall" (http://www.chicagoreader.com/chicago/the-m
an-behind-the-wall/Content?oid=894264). Chicago Reader.
3. "William Walker, pioneering Chicago muralist, dies at 84" (https://www.wbez.org/stories/william-wa
lker-pioneering-chicago-muralist-dies-at-84/3e3f6519-cc76-4ef6-a3a2-3c8b7c086f79). WBEZ. 14
September 2011. Retrieved 12 January 2021.
4. Huebner, Jeff (28 August 1997). "The Man Behind the Wall" (https://www.chicagoreader.com/chica
go/the-man-behind-the-wall/Content?oid=894264). www.chicagoreader.com. The Chicago
Reader. Retrieved 7 October 2020.
5. Huebner, Jeff (2001-09-06). "Back to the Walls: Public art advocates rally to save the last
remnants of the famous "Mural Revolution." " (http://www.chicagoreader.com/chicago/back-to-the-
walls/Content?oid=906406). Chicago Reader.
6. Ehmke, Layton and Justine Jablonska (2009-12-09). "A Chicago mural tells a story of a recent
past, but will the future accept it?" (http://news.medill.northwestern.edu/chicago/news.aspx?id=15
2629). Medill Reports - Chicago.
7. "The CPAG Watch List" (http://www.chicagoreader.com/chicago/the-cpag-watch-list/Content?oid=
906407). Chicago Reader. 2001-09-06.
8. "City hires 3 artists in new building plan". Chicago Tribune. 1979-06-28. p. W5.
9. Cummings, Cecilia (1986-03-27). "20 win awards for brightening life in Chicago". Chicago Sun-
Times. p. 66.
10. "1998 Hall of Honor" (http://www.kentlaw.edu/ilhs/1998.htm).
External links
Chicago Public Art Group (http://www.cpag.net/home/)
https://en.wikipedia.org/wiki/William_Walker_(muralist) 3/4
1/22/22, 1:47 PM William Walker (muralist) - Wikipedia
Retrieved from "https://en.wikipedia.org/w/index.php?title=William_Walker_(muralist)&oldid=1046727355"
This page was last edited on 27 September 2021, at 04:32 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License;
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Certificate of Authenticity
This is to certify the artwork pictured below, entitled
Portrait of Uncle Ismail
Artist: John Biggers (1924-2001)
Original wood engraving, 1967
Image Size: 8”x10”
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
1/22/22, 1:57 PM John T. Biggers - Wikipedia
John T. Biggers John T. Biggers
John Thomas Biggers (April 13, 1924 – January 25, 2001)[1]
was an African-American muralist who came to prominence after
the Harlem Renaissance and toward the end of World War II.
Biggers created works critical of racial and economic injustice. He
also served as the founding chairman of the art department at
Houston's Texas State University for Negroes (now Texas
Southern University), a historically black college.
Contents Born John Thomas Biggers
April 13, 1924
Early life and education Gastonia, North
Education and career Carolina
UNESCO fellowship
Career Died January 25, 2001
Auction records (aged 76)
Selected collections
Bibliography Nationality American
References
External links Education Lincoln Academy
(Kings Mountain,
Early life and education North Carolina)
Hampton Institute
Alma mater Pennsylvania State
University
Movement Young Negro Art
Biggers was born in a shotgun house built by his father in Gastonia, North Carolina. His father Paul
was a Baptist preacher, farmer, shoemaker, schoolteacher, and principal of a three-room school. His
mother Cora was a housekeeper for white families. The youngest of seven, Biggers was reared in a
close family that valued creativity and education.
When Cora's husband died in 1937, she took a job in an orphanage for Black children. She sent John
and his brother Joe to Lincoln Academy, an American Missionary Association school for African-
American children in Kings Mountain, North Carolina.[2]
After graduating from Lincoln, Biggers attended Hampton Institute (now Hampton University), a
historically black college. Biggers planned to become a plumber (his Hampton application included
boiler room drawings). His life took a dramatic change of course when he took an art class with Viktor
Lowenfeld, a Jewish refugee who in 1939 had fled from Nazi persecution in Austria before World War
II. Lowenfield introduced his students to works by African Americans and helped them understand
the religious and social context of African art, of which the Hampton Museum had a significant
collection.[2]
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Afterward, Biggers began to study art. At Hampton, Biggers also studied under African-American
painter Charles White and sculptor Elizabeth Catlett.[2][3] He also began to learn the work of Mexican
muralists Jose Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera; and American regionalists
Grant Wood, Reginald Marsh, Thomas Hart Benton, and Harry Sternberg. He was exposed to and
influenced by Harlem Renaissance artists William Artis and Hale Woodruf, and writers W. E. B. Du
Bois and Alain Locke.[2]
In 1943, Biggers was drafted and joined the U.S. Navy, which was segregated, like the other armed
services. He remained stationed at the Hampton Institute and made models of military equipment for
training purposes. In that same year, his talents were recognized when his work was included in a
landmark exhibit Young Negro Art at the Museum of Modern Art in New York.[1] Biggers was
discharged in 1945.[2]
Education and career
When Viktor Lowenfeld left Hampton to teach art education at Pennsylvania State University, he
persuaded Biggers to follow. In 1946, Biggers enrolled at Pennsylvania State where he earned
bachelor's and master's degrees in art education in 1948. In that same year, he married Hazel
Hales.[2] He earned a doctorate from Pennsylvania State in 1954.[3] He was awarded an honorary
doctor of letters degree from Hampton University in 1990.[4]
His works can be found at Hampton University in Hampton, Virginia, primarily in the campus library.
The University Museum at Houston's Texas Southern University houses a collection of Biggers's
works.
Biggers was hired to be founding chairman of the art department in 1949 at Houston's Texas State
University for Negroes (now Texas Southern University).[5] "Over the next thirty-four years Biggers
trained the next generation of African American artists and teachers that form a vital part of Biggers's
legacy."[6] Mr. Biggers retired from Texas Southern University in 1983. He lived at 3527 Ruth Street
while he taught at TSU.
In 1950, Biggers won first prize for his painting The Cradle at the annual exhibition at the Museum of
Fine Arts in Houston (http://www.mfah.org/). "Segregationist policies, however, allowed black
visitors into the museum only on Thursdays, so he could not attend the show's opening."[4]
From 1950 to 1956 Biggers painted four murals in African-American communities in Texas, the
beginning of his work in murals.[3] He painted many public murals in Houston and elsewhere,
including two in 1991 for Winston-Salem State University in North Carolina. Most are still in place.[7]
Biggers received a mural commission by the Young Women's Christian Association of Houston in
1952, for the Blue Triangle branch. Thinking of the YWCA as a place for African-American girls and
women to be empowered, Biggers was inspired to draw from his mural for his doctoral thesis. His
mural was titled The Contribution of the Negro Woman to American Life and Education.[8] Biggers
wanted the mural to represent the world of the girls and women who would see it.
It honors the sacrifices and endeavors of African American women on behalf of their families and
communities, and human rights for women of all races. The mural was revolutionary, symbolizing the
sociological, historical, and educational influences of heroic women.[9]
UNESCO fellowship 2/6
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1/22/22, 1:57 PM John T. Biggers - Wikipedia
Biggers received a fellowship in 1957 from UNESCO, the United Nations Educational Scientific and
Cultural Organization. With it, he was one of the first African-American artists to visit Africa. Under
the auspices of UNESCO, he and his wife Hazel traveled to Ghana, Benin, Nigeria and Togo to study
West African cultural traditions first-hand. Biggers described his trip to Ghana and Nigeria as a
"positive shock" and as "the most significant of my life's experiences."[10]
He adopted African design motifs and scenes of life from his travels as important elements of his
subsequent work. Biggers returned to Africa again in 1969, 1984 and 1987.[4] In a 1975 Houston Oral
History Project interview, Biggers spoke of his experiences. "We spent most of our time in the
country. People call it "bush," you know, that's a name sort of like the hunter. I don't care for that
name for the country people because country people have a great traditional culture. And these
cultures are all over the country. They are beautiful. They have endured."[11][12]
Biggers credits Lowenfeld with influencing his artistic development, giving him a larger perspective
on the anguish that people have suffered because of race or religious beliefs. He died at age 76 in
Houston.[4]
Career
When Biggers studied African myths and legends, he was particularly drawn to the creation stories of
a matriarchal deistic system, contrasting with the patriarchal images of the European world. As his
ideas and images of Africa melded with memories of his rural Southern life, his work became more
geometric, stylized and symbolic.[13] He used quilt-like geometric patterning as a unifying element of
his work and made his colors richer and lighter. In later years, Biggers shifted from creating works
that were overtly critical of racial and economic injustice (Victim of the City Streets #2, 1946) to more
allegorical works (Birth from the Sea, 1964 and Shotguns: Third Ward, 1987).[10]
Robert Farris Thompson notes how Biggers gives iconic treatment to household items associated with
everyday domestic life. For instance, he portrays the shotgun house as a symbol of collective dignity
and cultural identity.[14] The recurring symbol of the simple shotgun with a woman standing on the
porch can be interpreted not only as the simplest type of housing but also as a reference to women,
through whom all creation comes. He uses a repeated triangular roof shape similar to pieces of a quilt,
a reference to making a beautiful whole cloth from many irregular pieces, as another symbol of the
creative force.
In 1994, Biggers illustrated Maya Angelou's poem "Our Grandmothers".[15]
In 1995, the Museum of Fine Arts, Houston hosted a retrospective exhibition of Biggers's work titled
The Art of John Biggers: View from the Upper Room. The show also traveled to Boston, Hartford,
Connecticut, and Raleigh, North Carolina. "He is someone who has retained, over 50 years, an
emphasis on African-American culture," said Alvia J. Wardlaw, curator of the exhibition, a recognized
author on African American Art, and professor and curator of Texas Southern University's
Museum.[16] The catalogue Wardlaw created for the retrospective, The Art of John Biggers: View
from the Upper Room (published by Harry N. Abrams in 1995), includes a broad selection of Biggers's
paintings, drawings, prints, and sculptures.[17]
In 1996 Biggers was invited to create the original design for the Celebration of Life mural in North
Minneapolis, a predominantly African-American community. The mural was completed by a number
of local Minnesota artists, including a few of considerable reputation such as Seitu Jones and Ta-
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coumba Aiken. Due to the creation of a new housing development, the mural was taken down in
2001.[18][19]
In 2016, The Mint Museum in Charlotte, N.C., opened a multi-year exhibit John Biggers: Wheels in
Wheels, which includes 12 important paintings, drawings and prints, as well as a rare example of the
artist's sculpture. "Through the use of a rich symbolic language and beautiful craftsmanship, Biggers
found connections between personal, familial, and regional histories, traditions, symbols, which he
wove together to articulate broader cultural and historical concerns," the exhibit promotion stated.[20]
Themes that repeat throughout his career - the importance of women, family and triumph over
adversity - are evident in the works on display.
Auction records
On October 8, 2009, Swann Galleries set an auction record for any work by Biggers when they sold
the painting Shotguns (1987), acrylic and oil on canvas, for $216,000 in a sale of African-American
fine art. A stellar representation of the shotgun-style houses found in Southern black communities,
the painting had been widely exhibited and was considered a culmination of Biggers's work. It had
remained in a private collection since being acquired directly from the artist in 1987.
Biggers's papers, including correspondence, photographs, printed materials, professional materials,
subject files, writings, and audiovisual materials documenting his work as an artist and educator are
located at Emory University's Manuscript, Archives, and Rare Book Library in Atlanta, Georgia. His
works are in such collections as noted below.
Selected collections
Minneapolis Institute of Art, Minneapolis, MN
Williams College Museum of Art, WCMA, Williamstown, MA
Hampton University, Hampton, VA [21]
The University Museum at Texas Southern University, Houston, TX[22]
Art Museum of Southeast Texas, Beaumont, TX
National Museum of African American History and Culture, Washington, D.C.[23]
Bibliography
Biggers, John Thomas. Ananse: The Web of Life in Africa, University of Texas Press, 1962
References
1. "Jason Sweeney, "Biggers, John Thomas" " (http://www.tshaonline.org/handbook/online/articles/fbi
43). Texas State Historical Association.
2. "John Biggers brought African influence to art | African American Registry" (https://web.archive.or
g/web/20160205130820/http://www.aaregistry.org/historic_events/view/john-biggers-brought-afric
an-influence-art). www.aaregistry.org. Archived from the original (http://www.aaregistry.org/historic
_events/view/john-biggers-brought-african-influence-art) on 2016-02-05. Retrieved 2016-03-17.
3. "Search Artists / American Art" (http://americanart.si.edu/search/artist_bio.cfm?ID=414).
americanart.si.edu. Retrieved 2016-02-26.
https://en.wikipedia.org/wiki/John_T._Biggers 4/6
1/22/22, 1:57 PM John T. Biggers - Wikipedia
4. Cotter, Holland. "John Biggers, 76, Painter Who Explored African Life" (https://www.nytimes.com/2
001/01/30/arts/john-biggers-76-painter-who-explored-african-life.html).
5. Whitfield Lovell, John (2004). John Biggers My America. New York, NY: Michael Rosenfeld
Gallery. p. 49. ISBN 978-1930416284.
6. "John Biggers | Humanities Texas" (http://www.humanitiestexas.org/programs/tx-originals/list/john-
biggers). www.humanitiestexas.org. Retrieved 2016-02-12.
7. Cotter, Holland (2001-01-30). "John Biggers, 76, Painter Who Explored African Life" (https://www.
nytimes.com/2001/01/30/arts/john-biggers-76-painter-who-explored-african-life.html). The New
York Times. ISSN 0362-4331 (https://www.worldcat.org/issn/0362-4331). Retrieved 2016-02-26.
8. Farrington, Lisa (2017). African-American Art: A Visual and Cultural History. Oxford University
Press. p. 192.
9. Haskins, Scott (January 16, 2019). "Mural Conservation of The Contribution of Negro Women in
American Life and Education – A National Treasure in Houston, TX" (http://www.fineartconservatio
nlab.com/murals/mural-conservation-of-the-contribution-of-negro-women-in-american-life-and-edu
cation-a-national-treasure-in-houston-tx/). Fine Art Conservation Lab. Retrieved August 4, 2019.
10. Smalls, James (2017). "Biggers, John" (http://www.oxfordartonline.com:80/subscriber/article/grov
e/art/T2088338). Grove Art Online. Oxford Art Online. Oxford University Press. Retrieved
11 January 2017.
11. "Houston Public Library Digital Archives" (http://digital.houstonlibrary.org/oral-history/john-biggers-
1.php). digital.houstonlibrary.org. Retrieved 2016-02-12.
12. "John Biggers Brought African Influence to Art" (https://web.archive.org/web/20160205130820/htt
p://www.aaregistry.org/historic_events/view/john-biggers-brought-african-influence-art). African
American Registry. Archived from the original (http://www.aaregistry.org/historic_events/view/john-
biggers-brought-african-influence-art) on February 5, 2016. Retrieved December 14, 2014.
13. Eglash, Ron. (2004). "A Geometrical Bridge Across the Middle Passage: Mathematics in the Art of
John Biggers." The International Review of African American Art, Vol. 19, no. 3, pp. 29-33.
14. Farris Thompson, Robert. (1995) "John Biggers's Shotguns of 1987: An American Classic, The
Art of John Biggers: View from the Upper Room." Houston, TX: The Museum of Fine Arts, 108.
15. Wardlaw, Alvia (1995). The art of John Biggers: view from the Upper Room. New York: Harry N.
Abrams, Inc. p. 169. ISBN 0-8109-1956-7.
16. "John T. Biggers Facts, information, pictures | Encyclopedia.com articles about John T. Biggers" (h
ttp://www.encyclopedia.com/topic/John_T._Biggers.aspx). www.encyclopedia.com. Retrieved
2016-02-12.
17. The Art of John Biggers: View from the Upper Room (https://books.google.com/books?id=K6NPA
AAAMAAJ). Museum of Fine Arts. 1995-01-01. ISBN 9780810919563.
18. Celebration of Life Mural: African, Symbolic, Tradition. Minneapolis, MN: North Community Mural
Project. 1996.
19. "The John Biggers Seed Project Builds on a Public Art Legacy" (http://www.thelinemedia.com/feat
ures/johnbiggersseedproject02052014.aspx). TheLineMedia. Retrieved 2017-01-28.
20. "John Biggers: Wheels in Wheels" (https://www.mintmuseum.org/art/exhibitions/detail/john-bigger
s-wheels-in-wheels/). www.mintmuseum.org. Retrieved 2017-04-19.
21. "Our Museum : Hampton University Museum" (http://museum.hamptonu.edu/our_museum.cfm).
museum.hamptonu.edu. Retrieved 2017-02-28.
22. TSU. "University Museum" (http://www.tsu.edu/academics/colleges-and-schools/colabs/vpa/muse
um.php). www.tsu.edu. Retrieved 2017-02-28.
23. "National Museum of African-American Culture and History Prepares for Grand Opening" (http://w
ww.travelandleisure.com/attractions/museums-galleries/african-american-culture-history-
museum). Travel + Leisure. Retrieved 2017-02-28.
https://en.wikipedia.org/wiki/John_T._Biggers 5/6
1/22/22, 1:57 PM John T. Biggers - Wikipedia
External links
The Murals of John T. Biggers (https://web.archive.org/web/20060906224142/http://www.coe.uh.e
du/webscapes/biggers/multimedia.htm)
The Houston Murals of John Thomas Biggers (https://web.archive.org/web/20101023044324/htt
p://atlantis.coe.uh.edu/biggers/index.html)
John T. Biggers Collection (http://research.hrc.utexas.edu:8080/hrcxtf/view?docId=ead/00214.xml
&query=biggers,%20john&query-join=and) at the Harry Ransom Center at the University of Texas
at Austin
John Biggers Papers (http://findingaids.library.emory.edu/documents/biggers1179/), Emory
University
Biggers, John and David Courtwright. John Biggers Oral History (http://digital.houstonlibrary.org/c
dm/singleitem/collection/Interviews/id/0/rec/2), Houston Oral History Project, September 15, 1975
John Biggers at the Minneapolis Institute of Art, Minneapolis, MN (https://collections.artsmia.org/s
earch/John%20Biggers)
African American Culture History Museum (http://www.travelandleisure.com/attractions/museums-
galleries/african-american-culture-history-museum)
John Biggers Papers (http://pid.emory.edu/ark:/25593/910rd) at Stuart A. Rose Manuscript,
Archives, and Rare Book Library, Emory University (https://rose.library.emory.edu/)
“In Black America; John Biggers,” (https://americanarchive.org/catalog/cpb-aacip_529-td9n29qk2
s) 1985-04-12, KUT Radio, American Archive of Public Broadcasting (WGBH and the Library of
Congress), Boston, MA and Washington, DC
Retrieved from "https://en.wikipedia.org/w/index.php?title=John_T._Biggers&oldid=1062583017"
This page was last edited on 29 December 2021, at 09:11 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License;
additional terms may apply. By using this
site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia
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https://en.wikipedia.org/wiki/John_T._Biggers 6/6
Certificate of Authenticity
This is to certify the artwork pictured below, entitled
Deep Thought
Artist: WE Brown
Original acrylic on paper, circa 1945
Image Size: 12”x14”
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
Certificate of Authenticity
This is to certify the artifacts pictured below,
Bow & Arrows
Tribe: Xhosa, South Africa
Wood, string, & feathers
Case Size: 16”x30” approx.
Origin: South Africa, Collected 1984
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
1/24/22, 8:10 AM Xhosa people - Wikipedia
Xhosa people
Xhosa people (/ˈkɔːsə, ˈkoʊsə/;[2][3] Xhosa pronunciation: [kǁʰɔ́ːsa] Xhosa
( listen)) are a Nguni ethnic group in Southern Africa whose AmaXhosa
homeland is primarily within the modern-day Eastern Cape.
There is a small but significant Xhosa-speaking (Mfengu) Total population
community in Zimbabwe, and their language, isiXhosa, is
recognised as a national language.[4] 8,104,752 (2011 Census)
The Xhosa Kingdom is made up of two houses. The houses are Regions with significant
the Gcaleka House and Rharhabe House; The Rharhabe House populations
is made up of AmaNgqika, amaMbalu, amaNtinde,
amaGqunukhwebe, imiDange, imiDushane, and amaNdlambe. South 7,834,203
The traditional Xhosa territory is between the Mbhashe River
and Xelexwa River or Gamtoos River in Jeffreys Bay; inland, it Africa Eastern Cape:
goes all the way to the Winterberg Mountains near Somerset
East. In addition, there are other nations or Kingdoms found 5,092,152
near amaXhosa Kingdom; in their North East beyond the
Mbhashe River, people such as abaThembu settled between Western Cape:
Mbhashe and Mthatha Rivers, amaBhaca between the Tina and
Mzimvubu rivers, abakoBhosha, AmaMpondo settled between 1,403,233
Mthatha and Mtamvuna Rivers, amaMpondomise settled
between Tina, Tsitsa and Mthatha Rivers and amaQwathi Gauteng: 796,841
settled inland in Thembuland that are distinct and separate
Nations which have adopted the isiXhosa language and the Free State: 201,145
Xhosa way of life.[5]
KwaZulu-Natal: 340,832
200,000[1]
Zimbabwe
12,000
Botswana
Languages
Presently, approximately eight million Xhosa people are Xhosa (many also speak Zulu,
distributed across the country, and the Xhosa language is South English, and/or Afrikaans)
Africa's second-most-populous home language, after the Zulu
language, to which Xhosa is closely related. The pre-1994 Religion
apartheid system of Bantustans suspended the Xhosa South traditional African religions,
African citizenship, but assigned them to have self-governing Christianity
"homelands" namely; Transkei and Ciskei, now both a part of
the Eastern Cape Province where most Xhosa remain. Many Related ethnic groups
Xhosa live in Cape Town (eKapa in Xhosa), East London
Zulu, Hlubi, Swati, Southern Ndebele
(eMonti), and Port Elizabeth (e-Bhayi). and Northern Ndebele
As of 2003, the majority of Xhosa speakers, approximately 5.3 Person Xhosa
million, lived in the Eastern Cape, followed by the Western Cape People
(approximately 1 million), Gauteng (671,045), the Free State Language umXhosa
(246,192), KwaZulu-Natal (219,826), North West (214,461), Country AmaXhosa
isiXhosa
Mpumalanga (46,553), the Northern Cape (51,228), and Limpopo kwaXhosa
(14,225).[6]
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Contents
History Xhosa settlement in Eastern Cape
Language
Folklore and religion
Rites of passage
Rituals surrounding umtshato (Xhosa marriage)
Ukuthwalwa
Isiduko
Ikhazi
Ukuyalwa
Xhosa burial practices
Traditional diet
Xhosa cuisine
Art
Xhosa beadwork
Xhosa beadwork and its symbolism
Clothing
Women
Description
Men
Description
Xhosas in modern society
Notable Xhosa
See also
References
External links
History
Xhosa-speaking peoples (the amaXhosa, amaMpondo, abaThembu An illustration of a group of Xhosa
and amaMpondomise) inhabited South Africa and were well- people by Thomas Baines,
established in the region prior to Dutch colonization. Their illustrated in 1848
traditional large population areas included large portions of eastern
South Africa from the Gamtoos River to the region south of the
modern-day city of Durban.[5] The Xhosa first encountered
European settlers in the East London region in 1686 when survivors
of the wrecked merchantman Stavenisse were taken in as guests by
the chieftain of the Xhosa, Togu.[7] In the late 18th century,
Afrikaner trekboers migrating outwards from Cape Town came into
conflict with Xhosa pastoralists around the Gamtoos River region of
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the Eastern Cape; the trekboers pushed the Xhosas back to the Great Fish River ("Nxuba" in Xhosa).
Following more than twenty years of intermittent conflict, from 1811 to 1812, the Xhosas were forced
east of the Fish River in the Third Xhosa War.
In the years following, the Xhosas fought and repulsed many tribes that were escaping the Zulus in
Natal, this was during the historical mfecane. Those who were accepted were assimilated into the
Xhosa cultural way of life and followed Xhosa traditions. The Xhosas called these various tribes
AmaMfengu, meaning wanderers, and were made up of clans such as the amaBhaca, amaBhele,
amaHlubi, amaZizi and Rhadebe. To this day, the amaMfengu are part of the Xhosa people and they
speak isiXhosa and practice the Xhosa culture .
Xhosa unity and ability to fight off colonial encroachment was to be weakened by the famines and
political divisions that followed the cattle-killing movement of 1856–1858. Historians now view this
movement as a millennialist response, both directly to a lung disease spreading among Xhosa cattle at
the time, and less directly to the stress to Xhosa society caused by the continuing loss of their territory
and autonomy.
Some historians argue that this early absorption into the wage economy is the ultimate origin of the
long history of trade union membership and political leadership among Xhosa people. That history
manifests itself today in high degrees of Xhosa representation in the leadership of the African
National Congress (ANC), South Africa's ruling political party in the government.
Language
Xhosa is an agglutinative tonal language of the Bantu family.
While the Xhosas call their language "isiXhosa", it is usually
referred to as "Xhosa" in English. Written Xhosa uses a Latin
alphabet–based system. Xhosa is spoken by about 18% of the
South African population, and has some mutual intelligibility with
Zulu, especially Zulu spoken in urban areas. Many Xhosa
speakers, particularly those living in urban areas, also speak Zulu
and/or Afrikaans and/or English.
Folklore and religion Map of South Africa showing the
primary Xhosa language speech
Traditional healers of South Africa include diviners (amagqirha). area in green
This job is mostly taken by women, who spend five years in
apprenticeship. There are also herbalists (amaxhwele), prophets
(izanuse), and healers (iinyanga) for the community.
The Xhosas have a strong oral tradition with many stories of ancestral heroes; according to tradition,
the leader from whose name the Xhosa people take their name was the first King of the nation. One of
Xhosa's descendants named Phalo gave birth to two sons, Gcaleka kaPhalo, the heir, and Rarabe ka
Phalo, a son from the Right Hand house. Rarabe was a great warrior and a man of great ability who
was much loved by his father. Gcaleka was a meek and listless man who did not possess all the
qualities befitting of a future king. Matters were also complicated by Gcaleka's initiation as a diviner,
which was a forbidden practice for members of the royal family.
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Seeing the popularity of his brother and fearing that he might one day challenge him for the throne,
Gcaleka attempted to usurp the throne from his father, but Rarabe would come to his father's aid and
quell the insurrection. With the blessing of his father, who provided him retinue and also
accompanied him; Rarabe would leave the great place and settle in the Amathole Mountains region.
Rarabe, through his military prowess, subjugated various tribes he found in the region and would buy
lands from the Khoikhoi to establish his own kingdom. The amaXhosa would from then on be split
into two kingdoms under the senior amaGcaleka and the junior amaRharhabe.
The AmaRharhabe branch of the AmaXhosa is under the leadership of King Jonguxolo Sandile (Ah!
Vululwandle!), who was named and anointed King at the Special Official Funeral of his mother,
Queen Noloyiso Sandile Aah! Noloyiso, who was a daughter of King Cyprian Bhekuzulu
Nyangayezizwe kaSolomon and sister to the current reigning Zulu monarch Goodwill Zwelithini
kaBhekuzulu.
The AmaGcaleka and amaXhosa as a whole are currently under King Ahlangene Sigcawu ahh
Vulikhaya!!. He was crowned after the death of the monarch his brother, King Mpendulo Sigcawu
(Ah! Zwelonke!) .[8][5]
The key figure in the Xhosa oral tradition is the imbongi (plural: iimbongi) or praise singer. imbongi
traditionally live close to the chief's "great place" (the cultural and political focus of his activity); they
accompany the chief on important occasions – the imbongi Zolani Mkiva preceded Nelson Mandela at
his presidential inauguration in 1994. imbongis' poetry, called imibongo, praises the actions and
adventures of chiefs and ancestors.
The supreme being is called uThixo or uQamata. In Xhosa tradition, the ancestors act as
intermediaries between the living and God; they are honoured in rituals in order to bring good
fortune. Dreams play an important role in divination and contact with ancestors. Traditional religious
practice features rituals, initiations, and feasts. Modern rituals typically pertain to matters of illness
and psychological well-being.
Christian missionaries established outposts among the Xhosa in the 1820s, and the first Bible
translation was in the mid-1850s, partially done by Henry Hare Dugmore. Xhosa did not convert in
great numbers until the 20th century, but now many are Christian, particularly within the African
initiated churches such as the Zion Christian Church. Some denominations combine Christianity with
traditional beliefs.
Rites of passage
The Xhosa are a South African cultural group who emphasise traditional practices and customs
inherited from their forefathers. Each person within the Xhosa culture has their place which is
recognised by the entire community. Starting from birth, a Xhosa person goes through graduation
stages which recognise their growth and assign them a recognised place in the community. Each stage
is marked by a specific ritual aimed at introducing the individual to their counterparts and also to
their ancestors. Starting from imbeleko, a ritual performed to introduce a new born to the ancestors,
to umphumo (the homecoming), from inkwenkwe (a boy) to indoda (a man). These rituals and
ceremonies are sancrosact to the identity and heritage of the Xhosa and other African descendents.
Though some western scholars question the relevance of these practices today, even urbanised Xhosa
people do still follow them. The ulwaluko and intonjane are also traditions which separated this tribe
from the rest of the Nguni tribes. These are performed to mark the transition from child to adulthood.
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Zulus once performed the ritual but King Shaka stopped it because of war in the 1810s. In 2009, it
was reintroduced by King Goodwill Zwelithini Zulu, not as a custom, but as a medical procedure to
curb HIV infections.
All these rituals are symbolic of one's development. Before each is performed, the individual spends
time with community elders to prepare for the next stage. The elders' teachings are not written, but
transmitted from generation to generation by oral tradition. The iziduko (clan) for instance—which
matters most to the Xhosa identity (even more than names and surnames) are transferred from one to
the other through oral tradition. Knowing your isiduko is vital to the Xhosas and it is considered a
shame and uburhanuka (lack-of-identity) if one doesn't know one's clan. This is considered so
important that when two strangers meet for the first time, the first identity that gets shared is isiduko.
It is so important that two people with the same surname but different clan names are considered
total strangers, but two people from the same clan but with different surnames are regarded as close
relatives. This forms the roots of ubuntu (human kindness) – a behaviour synonymous to this tribe as
extending a helping hand to a complete stranger when in need. Ubuntu goes further than just helping
one another – it is so deep that it even extends to looking after and reprimanding your neighbour's
child when in the wrong. Hence the saying "it takes a village to raise a child".
One traditional ritual that is still regularly practiced is the manhood ritual, a secret rite that marks the
transition from boyhood to manhood, ulwaluko. After ritual circumcision, the initiates (abakwetha)
live in isolation for up to several weeks, often in the mountains. During the process of healing they
smear white clay on their bodies and observe numerous customs.
In modern times the practice has caused controversy, with over 825 circumcision- and initiation-
related deaths since 1994, and the spread of sexually transmitted infections, including HIV, via the
practice of circumcising initiates with the same blade.[9] In March 2007, a controversial mini-series
dealing with Xhosa circumcision and initiation rites debuted on South African Broadcasting
Corporation. Titled Umthunzi Wentaba, the series was taken off the air after complaints by
traditional leaders that the rites are secret and not to be revealed to non-initiates and women.[10] In
January 2014 the website ulwaluko.co.za (http://www.ulwaluko.co.za/) was released by a Dutch
medical doctor. It features a gallery of photographs of injured penises, which sparked outrage
amongst traditional leaders in the Eastern Cape.[11] The South African Film and Publication Board
ruled that the website was "scientific with great educative value", addressing a "societal problem
needing urgent intervention".[12]
Girls are also initiated into womanhood (Intonjane). They too are secluded, though for a shorter
period. Female initiates are not circumcised.[5]
Other rites include the seclusion of mothers for ten days after giving birth, and the burial of the
afterbirth and umbilical cord near the village. This is reflected in the traditional greeting Inkaba
yakho iphi?, literally "where is your navel?" The answer "tells someone where you live, what your clan
affiliation is, and what your social status is and contains a wealth of undisclosed cultural information.
Most importantly, it determines where you belong".[13]
Rituals surrounding umtshato (Xhosa marriage)
Xhosa marriage, umtshato, is one that is filled with a number of customs and rituals which relate to
the upkeep of Xhosa traditional practices. These rituals have been practiced for decades by the Xhosa
people and have been incorporated into modern day Xhosa marriages as well. The purpose of the
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practices is to bring together two different families and to give guidance to the newly wed couple
throughout.[14]
Ukuthwalwa
To start off the procedures the male intending to marry goes through Ukuthwalwa which entails him
choosing his future bride and making his intentions of marriage known, however this practice was not
done by all the tribes within the xhosa people.[15] In modern day, the man and woman would most
likely have been in courtship or a relationship prior to Ukuthwalwa. Decades before Ukuthwalwa
would entail legal bridal abduction, where the man could choose a woman of his liking to be his bride
and go into negotiations with the family of the bride without her knowledge or consent. She would
have to abide to the marriage as per tradition.[16]
Isiduko
Following Ukuthwala, the man will then be in discussion with his parents or relatives to inform them
of his choice in bride. During this discussion the clan name, isiduko, of the woman would be revealed
and researched.[14] If it were found that the woman and the man share the same clan name they
would not be allowed to proceed with the marriage as it is said that people with the same clan name
are of the same relation and cannot be wed.[17]
Ikhazi
Once discussions with the family are complete and satisfactory information about the woman is
acquired then the family of the man will proceed to appoint marriage negotiators. It is these very
negotiators that will travel to the family of the woman to make known the man and his intentions.
Once the negotiators reach the family of the woman they will be kept in the kraal, inkundla, of the
woman's family. If the family does not possess a kraal they will simply be kept outside the household
as they will not be allowed to enter the household without the acknowledgment and acceptance of the
woman's family. It is here where the lobola (dowry) negotiations will begin. The family of the woman
will give them a bride-price and a date for which they must return to pay that price. The bride-price is
dependent on numerous things such as her level of education, the wealth status of her family in
comparison to that of the man's family, what the man stands to gain in the marriage and the overall
desirability of the woman. The payment of the bride-price could be in either cattle or money
depending on the family of the woman. The modern Xhosa families would rather prefer money as
most are situated in the urban cities where there would be no space nor permits for livestock.[18]
Upon return of the man's family on the given date, they will pay the bride-price and bring along gifts
of offering such as livestock and alcoholic beverages, iswazi, to be drunk by the family of the bride.
Once the lobola from the man's negotiators is accepted then they will be considered married by the
Xhosa tradition and the celebrations would commence. These include slaughtering of the livestock as
a grateful gesture to their ancestors as well as pouring a considerable amount of the alcoholic
beverages on the ground of the bride's household to give thanks to their ancestors. The groom's family
is then welcomed into the family and traditional beer, Umqombothi, will be prepared for the groom's
family as a token of appreciation from the bride's family.
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To solidify their unity the family of the bride will head to the groom's household where the elders will
address her with regards to how to carry herself and dress appropriately at her newly found
household, this is called Ukuyalwa.[14] Furthermore, a new name will also be given to her by the
women of the groom's family and this name signifies the bond of the two families.
Xhosa burial practices
Burial practices and customs include a specific sequence of events and rituals which need to be
performed in order to regard a funeral as dignified. Once the family has been notified that a member
has died, the extended family comes together in preparation for the burial of the deceased.
The "umkhapho" (to accompany) ritual is performed in order to accompany the spirit of the deceased
to the land of the ancestors. The local male clan leader or his proxy is the one who facilitates the
process. The purpose of umkhapho is to keep the bonds between the deceased person and the
bereaved alive so that the deceased may be able to return later and communicate as an ancestor.
During this ritual, an animal such as a goat is slaughtered. A larger animal like a cow may also be
slaughtered for an important person like a head of the family whilst a goat without a blemish may be
slaughtered for others.
Further customs include the emptying the main bedroom of the bereaving family, known as 'indlu
enkulu'. This room is where most of the last respects will be paid by family and friends. The emptying
of the room is done in order to create space for extended family members to be able to mourn in the
main room. The first family members and/or neighbours to arrive arrange the main bedroom to
accommodate this seating arrangement by placing a traditional grass mat (ukhukho) or mattress on
the floor.
Mourners do not require an invitation to attend a funeral and everyone who can and would like to
attend is welcome. This means that the bereaved family has to cater for an unknown number of
mourners. Traditionally, mourners were fed with 'inkobe', which is boiled dried corn and water, and
the corn was taken from the family food reserves as well as donated by family members and
neighbours. In the 21st century, it is regarded as taboo to feed mourners with 'inkobe' and, as a result
of shame, funeral catering has become a lucrative business for the industry during burial events.
On the day of burial, before extended family members disperse to their homes, the ukuxukuxa
(cleansing) ritual occurs and a goat or sheep or even a fowl is slaughtered.[19][20]
A cleansing ritual is done the day after the burial, in which the bereaved women of the family go to the
nearest river to wash all the materials and blankets that were used by the deceased before death.
Furthermore, the clothes of the deceased are removed from the house and the family members shave
their hair. The shaving of hair is an indication that life continues to spring up even after death.[21]
Traditional diet
The Xhosa settled on mountain slopes of the Amatola and the Winterberg Mountains. Many streams
drain into great rivers of this Xhosa territory, including the Kei and Fish Rivers. Rich soils and
plentiful rainfall make the river basins good for farming and grazing making cattle important and the
basis of wealth.
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Traditional foods include beef (Inyama yenkomo), mutton (Inyama
yegusha), and goat meat (Inyama yebhokwe), sorghum, milk (often
fermented, called "amasi"), pumpkins (amathanga), Mielie-meal (maize
meal), samp (unngqusho), beans (iimbotyi), vegetables, like "rhabe", wild
spinach reminiscent of sorrel, "imvomvo", the sweet sap of an aloe, or
"ikhowa", a mushroom that grows after summer rains.[22]
Xhosa cuisine Xhosa woman preparing
food for large groups of
Amaceba, slices of unpeeled pumpkins that are cooked in plenty of people
water.
Xhosa beer Umqombothi in
Amarhewu or mageu, soft and sour porridge Langa
Iinkobe, peeled off fresh maize grains, and boiled until cooked. It is
eaten as a snack, preferably with salt.
Intyabontyi, a citron melon with white insides, eaten either raw or
cooked.
Isophi, corn with beans or peas soup
Umcuku, fermented porridge [amarhewu], sour, slightly soft than
porridge itself, mixed with dry pap [umphokoqo]; was popular in the
1900s.
Umleqwa, a dish made with free-range chicken.
Umngqusho, a dish made from white maize and sugar beans, a
staple food for the Xhosa people.
Umphokoqo, crumble pap
Umqombothi, a type of beer made from fermented maize and
sorghum.
Umvubo, sour milk mixed with umphokoqo, commonly eaten by the
Xhosa.
Umbhako, a loaf of bread, commonly made with homemade dough.
Normally round, from baking pots
Umfino, Wild Spinach/Cabbage called imifino, spinach mixed with
mealie meal.
Umqa, a dish made of pumpkin and mielie meal (maize meal)
Umxoxozi, a pumpkin that is cooked before it is fully ripened.
Art
Traditional crafts include bead-work, weaving, woodwork and pottery.
Traditional music features drums, rattles, whistles, flutes, mouth harps, and stringed-instruments
and especially group singing accompanied by hand clapping.[5] There are songs for various ritual
occasions; one of the best-known Xhosa songs is a wedding song called "Qongqothwane", performed
by Miriam Makeba as "Click Song #1". Besides Makeba, several modern groups record and perform in
Xhosa.
Missionaries introduced the Xhosa to Western choral singing.[5] "Nkosi Sikelel' iAfrika", part
of the National anthem of South Africa is a Xhosa hymn written in 1897 by Enoch Sontonga.
The first newspapers, novels, and plays in Xhosa appeared in the 19th century,[5] and Xhosa poetry is
also gaining renown.
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Several films have been shot in the Xhosa language. U-Carmen
eKhayelitsha is a modern remake of Bizet's 1875 opera Carmen. It is shot
entirely in Xhosa, and combines music from the original opera with
traditional African music. It takes place in the Cape Town township of
Khayelitsha. The movie Black Panther also features the Xhosa language.
Xhosa beadwork
Beads are small round objects made of glass, wood, metal, nutshell, bone Xhosa women's outfit,
seed and the likes, which are then pierced for stringing.[23] Before glass made from cotton blanket
beads were introduced, people used natural materials to make beads. fabric coloured with red
Xhosa people relied on the San to sell beads to them through trade or ochre and decorated with
barter exchange. Xhosa people would give hemp to the San in exchange glass beads, mother of
for beads. The beads made by the San were made out of ostrich egg shells pearl buttons and black felt
which were chipped to small size, bored and polished and strung into trim
sinews. Producing them took a long time, so they were scarce, highly
priced, valued and in demand. It is recorded that it was only in the 1930s
that the Portuguese introduced glass beads through trade.[24]
Xhosa beadwork and its symbolism
Adornments serve a particular purpose across different cultures as social markers. They are used to
ascertain where one belongs to with regards to identity, history and geographical location. They reveal
personal information with regards to age and gender and social class as some beads were meant to be
worn by royalty. Beadwork creates a sense of belonging and cultural identity and traditions hence
people draw their cultural ways of living and meanings, as Xhosa people use them as social markers.
Xhosa people believe that the beads also create a link between the living and the ancestors as diviners
use them during rituals. Thus beads have some spiritual significance.[24]
Social identities/markers with regards to age, gender, grade, marital status, social rank or role and the
spiritual state can be ascertained through Xhosa beadwork. Symbolic references are drawn from the
beads through the colour, pattern, formation and motifs. However, it ought to be taken into
cognisance that some of these messages are limited to a certain group or between two people. In
Xhosa culture beads represent the organisational framework of the people and the rites of passage
that people have gone through as the beads are representative of the stages of one's life. Motifs on the
beads often used include trees, diamonds, quadrangles, chevrons, triangles, circles, parallel lines that
form a pattern that is exclusive to certain age groups. Although the beadwork has some cultural
significance with certain motifs having exclusive meanings, the creator of the beadwork has creative
control and can create and draw meaning from individual preference. Thus the meanings drawn from
the beadwork are not rigidly set.[24]
Among the Thembu (a tribe in the Eastern Cape often erroneously referred to be a Xhosa tribe), after
circumcision, the men wore, and still wear, skirts, turbans and a wide bead collar. A waistcoat, long
necklaces, throat bands, armbands, leggings and belts are part of his regalia. The dominant colours in
the beadwork are white and navy blue, with some yellow and green beads symbolising fertility and a
new life, respectively.[24]
Xhosa people regard white as the colour of purity and mediation; white
beads are still used as offerings to spirits or to the creator. Amagqirha/diviners use white beads when
communicating with the ancestors . These diviners also carry with them beaded spears, which are
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associated with the ancestors that inspire the diviner; beaded horns; and calabashes, to hold
medicinal products or snuff. "Amageza", a veil made of beads, is also part of their regalia, they use
these beads by swaying them in someone's eyes so as to induce a trance-like state.[24]
Inkciyo is a beaded skirt that serves as a garment covering the pubic area.[25] Among the Pondo
people (Xhosa clan) the beads are turquoise and white in colour. This skirt is worn during a virginity
testing ceremony among Xhosa people undergoing their rites of passage into womanhood.[26]
Impempe is a whistle that has a necklace on it. The whistle symbolises one's introduction to
adolescence.[27]
Xhosa beadwork and other cultural beadworks have cultural ties, but nowadays beads are also worn
as fashion pieces, too, either as cultural appreciation or appropriation. The use of cultural beadworks
as fashion pieces means that anyone can wear these pieces without having to belong to that cultural
group.[28]
Clothing
The Xhosa culture has a traditional dress code informed by the
individuals social standing portraying different stages of life. The
'red blanket people' (Xhosa people) have a custom of wearing red
blankets dyed with red ochre, the intensity of the colour varying
from tribe to tribe. Other clothing includes beadwork and printed
fabrics. Although in general, Xhosa lifestyle has been adapted to
Western traditions, the Xhosa people still wear traditional attire
for special cultural activities. The various tribes have their own
variations of traditional dress which includes the colour of their Traditional Xhosa clothing
garments and beadwork. This allows for different Xhosa groups to
be able to be distinguishable from one another due to their
different styles of dress. The Gcaleka women, for instance, encase
their arms and legs in beads and brass bangles and some also wear neck beads.[29]
Women
Unmarried women often wear wraps tied around their shoulders, leaving their breasts exposed.
Engaged women redden their plaited hair and let it screen their eyes, this was done as a sign of
respect for their fiancés. Xhosa women wear some form of headdress to cover their heads as a sign of
respect to the head of the family which is either their father or husband. Elderly Xhosa women are
allowed to wear more elaborate headpieces because of their seniority.
Description
Incebetha is a small blanket that is used as a bra. It is pinned or adorned with beads. The process
of making 'incebetha' is called 'uRhaswa'.
'Ifulu' is a garment that is worn underneath, below the belt. 'Ifulu' is covered by the 'isikhakha' or
'umbhaco' and is made of a blanket. It is also adorned with beads through 'urhaswa'.
'Iqhiya' is a cloth that is fitted to the head and covered with beads. Women then wear a small and
light weight blanket on the waist called 'uxakatha'.
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Women make bracelets with beads, called 'intsimbi' or 'amaso', which they wear on their feet.
'Intsimbi' or 'amaso' is also worn around the waist. 'Intsimbi' or 'amaso' is made with small wires or
flexible material. 'Imitsheke' is worn on the wrist. A small hand bag is worn called 'ingxowa'[30]
Men Xhosa men resting during a hunt
Xhosa men traditionally filled the roles as hunters, warriors and
stockman, therefore animal skin forms an important part of their
traditional wear. Men often wear goatskin bags in which to carry
essentials such as tobacco and a knife. The bag is usually made
from skin that had been removed in one piece, cured without
removing the hair, and turned inside out.
On special occasions
such as weddings or initiation ceremonies, Xhosa men wear
embroidered skirts with a rectangular cloth over the left shoulder
alternatively, a tunic and strands of beaded necklaces can be
worn.[31]
Description
Men wear 'ingcawa' a white and black blanket, adorned with 'ukurhaswa'. Men wear beads around
their neck. 'Isichebe' is a short bead while 'Isidanga' is a long bead necklace with different colors. Men
wear beads around their wrists and foot called 'amaso'. Beads that are worn on the head are called
'unngqa' or 'igwala'. Men smoke pipes that are decorated by 'ukurhaswa'. The traditional smoking
pipes are called 'umbheka phesheya'.[32][29]
Xhosas in modern society
Xhosa people currently make up approximately 18% of the South Modern Xhosa attire
African population. The Xhosa are the second largest cultural Xhosa man, Eastern Cape
group in South Africa, after the Zulu-speaking nation.[33]
Under apartheid, adult literacy rates were as low as 30%,[5] and in
1996 studies estimated the literacy level of first-language Xhosa
speakers at approximately 50%.[34] There have been advances
since then, however.
Education in primary-schools serving Xhosa-speaking
communities is conducted in Xhosa, but this is replaced by
English after the early primary grades. Xhosa is still considered as
a studied subject, however, and it is possible to major in Xhosa at
university level. Most of the students at Walter Sisulu University
and University of Fort Hare speak Xhosa. Rhodes University in
Grahamstown, additionally, offers courses in Xhosa for both
mother-tongue and non-mother-tongue speakers. These courses
both include a cultural studies component. Professor Russel H.
Kaschula, Head of the School of Languages at Rhodes, has
published multiple papers on Xhosa culture and oral literature.
https://en.wikipedia.org/wiki/Xhosa_people 11/15
1/24/22, 8:10 AM Xhosa people - Wikipedia
The effects of government policies during the years of apartheid
can still be seen in the poverty of the Xhosa who still reside in the
Eastern Cape. During this time, Xhosa males could only seek
employment in the mining industry as so-called migrant
labourers. Since the collapse of apartheid, individuals can move
freely.
After the breakdown of apartheid, migration to Gauteng and Cape Xhosa girl
Town has become increasingly common, especially amongst rural
Xhosa people.[35]
Notable Xhosa
See also
List of Xhosa Kings
King Zwelonke Sigcawu
Xhosa wars
Ciskei
Transkei
Amafufunyana
Lobola
List of Xhosa people
AbaThembu
Amampondo
Inqawe
Xhosa literature
References
1. Hlenze Welsh Kunju, 2017 Isixhosa Ulwimi Lwabantu Abangesosininzi eZimbabwe: Ukuphila
Nokulondolozwa Kwaso, PhD Dissertation, Rhodes University.
2. "Xhosa – pronunciation of Xhosa" (http://www.macmillandictionary.com/pronunciation/british/Xhos
a). Macmillan Dictionary. Macmillan Publishers Limited. Retrieved 16 April 2014.
3. Laurie Bauer, 2007, The Linguistics Student's Handbook, Edinburgh
4. Nombembe, Caciswa. "Music-making of the Xhosa diasporic community: a focus on the Umguyo
tradition in Zimbabwe." Masters dissertation, School of Arts, Faculty of Humanities, University of
the Witwatersrand, 2013.
5. Xhosa (http://www.everyculture.com/wc/Rwanda-to-Syria/Xhosa.html), Article at everyculture.com
6. "SouthAfrica.info" (https://web.archive.org/web/20050522081642/http://www.southafrica.info/ess_i
nfo/sa_glance/demographics/census-main.htm). SouthAfrica.info. 9 July 2003. Archived from the
original (http://www.southafrica.info/ess_info/sa_glance/demographics/census-main.htm) on 22
May 2005. Retrieved 20 December 2011.
7. History of South Africa 1486 – 1691, GM Theal, London 1888
https://en.wikipedia.org/wiki/Xhosa_people 12/15
1/24/22, 8:10 AM Xhosa people - Wikipedia
8. "King Zwelonke's coronation marks new beginning – Zuma" (https://www.news24.com/SouthAfric
a/News/King-Zwelonkes-coronation-marks-new-beginning-Zuma-20150516). 16 May 2015.
Retrieved 22 December 2017.
9. "TheHerald.co.za" (http://www.theherald.co.za/herald/news/n06_04042007.htm).
TheHerald.co.za. Retrieved 20 December 2011.
10. "IOL.co.za" (http://www.int.iol.co.za/index.php?set_id=1&click_id=125&art_id=vn20070402030110
687C620435). iol.co.za.
11. Zwanga Mukhuthu (11 January 2014). "Outrage over graphic circumcision website" (http://www.di
spatchlive.co.za/news/2014/01/11/outrage-over-graphic-circumcision-website/). dispatch.co.za.
12. "Media release on ulwaluko.co.za" (https://web.archive.org/web/20160312070421/http://www.fpb.
org.za/media-centre-fpb/press-release/128-media-release-on-the-classification-of-the-website-ulw
aluko-co-za). fpb.org.za (Press release). 24 January 2014. Archived from the original (http://www.f
pb.org.za/media-centre-fpb/press-release/128-media-release-on-the-classification-of-the-website-
ulwaluko-co-za) on 12 March 2016.
13. David Martin (3 March 2006). "Inkhaba Yahko Iphi?—Where is Your Navel?" (https://web.archive.o
rg/web/20070707213447/http://www.uofaweb.ualberta.ca/researchandstudents/news.cfm?story=4
3671). Uofaweb.ualberta.ca. Archived from the original (http://www.uofaweb.ualberta.ca/research
andstudents/news.cfm?story=43671) on 7 July 2007. Retrieved 20 December 2011.
14. http://www.middelburgec.co.za/page/culture
15. "What really goes down at a traditional Xhosa wedding" (http://www.w24.co.za/Bride/Perfect-wedd
ing/what-really-goes-down-at-a-traditional-xhosa-wedding-20161019). w24.co.za.
16. Online, Matrimony. "Matrimony Online, South Africa's leading wedding website" (https://web.archi
ve.org/web/20171223042931/http://www.matrimony.co.za/uw/azindex.asp?id=2697).
matrimony.co.za. Archived from the original (http://www.matrimony.co.za/uw/azindex.asp?id=269
7) on 23 December 2017. Retrieved 14 July 2017.
17. "Iziduko – Xhosa Culture" (http://www.xhosaculture.co.za/about-us/iziduko). xhosaculture.co.za.
Retrieved 17 September 2018.
18. "Lobola ins and outs – HeraldLIVE" (http://www.heraldlive.co.za/my-heraldlive/2014/03/20/lobola-i
ns-and-outs). heraldlive.co.za. 20 March 2014.
19. SIPHE POTELWA. (2016) The visual narrative relating to social performance of the Xhosa people
during burial. MASTER OF VISUAL ARTS. UNIVERSITY OF SOUTH AFRICA
http://hdl.handle.net/10500/22189 Accessed 15 October 2018
20. Rebekah Lee (2012) Death in Slow Motion: Funerals, Ritual Practice and Road Danger in South
Africa, African Studies,71:2,195-211,DOI:10.1080/00020184.2012.702965
21. Anne Hutchings. Ritual cleansing, incense and the tree of life-observations on some indigenous
plant usage in traditional Zulu and Xhosa purification and burial rites. Alternation 14 (2), 189-217,
2007 https://hdl.handle.net/10520/AJA10231757_488 Accessed 15 October 2018
22. Xhosa cuisine (https://web.archive.org/web/20181209165547/https://www.southafrica.net/sat/cont
ent/en/us/full-article?oid=19407&sn=Detail&pid=464)
23. Encyclopedia,com. http://www.encyclopedia.com/fashion/encyclopedias-almanacs-transcripts-
and-maps/beads.
24. Van Wyk, G (2003). "Illuminated signs: style and meaning in the beadwork of the Xhosa-and Zulu-
speaking peoples". African Arts. 36 (3): 12–94. doi:10.1162/afar.2003.36.3.12 (https://doi.org/10.1
162%2Fafar.2003.36.3.12). JSTOR 3337941 (https://www.jstor.org/stable/3337941).
25. Nicola Bidwell; Heike Winschiers-Theophilus (2015). At the Intersection of Indigenous and
Traditional Knowledge and Technology Design (https://books.google.com/books?id=6IpwCgAAQB
AJ&q=Inkciyo&pg=PA377). Informing Science. p. 377. ISBN 978-1-932886-99-3.
https://en.wikipedia.org/wiki/Xhosa_people 13/15
1/24/22, 8:10 AM Xhosa people - Wikipedia
26. "Iintombi zenkciyo – Opinions" (http://www.archivalplatform.org/blog/entry/ilintombi/blog).
archivalplatform.org. 7 September 2011. Retrieved 22 December 2017.
27. Dawn Costello (1990), Not only for its beauty: beadwork and its cultural significance among the
Xhosa speaking peoples (http://uir.unisa.ac.za/bitstream/handle/10500/19525/Costello__D__0869
816594__Section2.pdf?sequence=2&isAllowed=y) (PDF), University of South Africa, ISBN 978-
0869816592
28. The Traditional Way of Dressing in the Xhosa Culture. https://www.youtube.com/watch?
v=OhX7DqcWgbM
29. The Xhosa. https://www.ru.ac.za/media/rhodesuniversity/content/facultyofeducation/.../Xhosa.pdf
page 7-9 Accessed 17 July 2018
30. https://www.metmuseum.org/art/collection/search/316786 Accessed 18 July 2018
31. Vukile Pokwana. The History of Xhosa Attire. 17 June 2014 Herald Live Accessed 18 July
32. https://theculturetrip.com/africa/south-africa/articles/an-introduction-to-south-african-traditional-
dress/ Accessed 18 July 2018
33. "Xhosa" (http://www.sahistory.org.za/article/xhosa). 3 April 2011.
34. Ethnologue.com (http://www.ethnologue.com/show_language.asp?code=xho), Ethnologue entry
35. Bähre, Erik (2007), Money and Violence; Financial Self-Help Groups in a South African Township
(https://www.erikbaehre.nl/sites/www.erikbaehre.nl/files/publications/erik_bahre_money_and_viole
nce.pdf) (PDF), Brill: Leiden.
Results of the 2001 South African census (https://web.archive.org/web/20050522081642/http://w
ww.southafrica.info/ess_info/sa_glance/demographics/census-main.htm)
Note that the figure mentioned on this page is based upon the number of people speaking
Xhosa as their home language, which may be greater or less than the total number of
people claiming Xhosa descent. In addition, several million people in the Johannesburg-
Soweto region speak Xhosa or Zulu as a second or third language. For a majority of
these, the two languages become difficult to distinguish (unsurprising given the extreme
closeness of their linguistic relationship).
Reader, J., 1997. Africa: A Biography of the Continent, Vintage Books, New York, NY, United
States of America.
Kaschula, Russell The Heritage Library of African People: Xhosa, New York: The Rosen
Publishing Group, Inc., 1997.
Marquard, Jean (30 January 2009). "The "grosvenor" and its Literary Heritage". English Studies in
Africa. 24 (2): 117–137. doi:10.1080/00138398108690786 (https://doi.org/10.1080%2F001383981
08690786).
External links
People of Africa (http://www.africanholocaust.net/peopleofafrica.htm#x)
Xhosa History and Society (https://web.archive.org/web/20061005123113/http://www.rhi.org.za/in
dex.php?ref=articles&do=rd&artid=5)
2001 Digital Census Atlas (https://web.archive.org/web/20051212080545/http://www.statssa.gov.z
a/census2001/digiAtlas/index.html)
Xhosa Folklore (http://www.sacred-texts.com/afr/xft/) – a collection of Xhosa folklore collected in
1886.
Xhosa Google (http://www.google.com/intl/xh/) – Google interface in Xhosa
https://en.wikipedia.org/wiki/Xhosa_people 14/15
1/24/22, 8:10 AM Xhosa people - Wikipedia
Wiki Loves Africa 2017 (https://commons.wikimedia.org/wiki/Commons:Wiki_Loves_Africa_2017/
en)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Xhosa_people&oldid=1066677249"
This page was last edited on 19 January 2022, at 15:08 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License;
additional terms may apply. By using this
site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia
Foundation, Inc., a non-profit organization.
https://en.wikipedia.org/wiki/Xhosa_people 15/15
Certificate of Authenticity
This is to certify the artwork pictured below, entitled
The Union
Artist: Bartrana
Original acrylic on canvas
Image Size: 16”x20”
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
Certificate of Authenticity
This is to certify the artwork pictured below, entitled
Cleanup
Artist: Enoch Tshabalala
Original pastel on paper
Image Size: 19½”x25½”
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
Enoch
Tshabalala
Enoch Mandlenkosi Tshabalala’s family moved from Belfour, Mpumalanga to live
in Johannesburg in 1945 when he was four years old. At first they lived in
Kliptown, but they later settled in Soweto in the year that it was established on
the periphery of Johannesburg. Soon after this Tshabalala contracted polio.
After treatment at the Johannesburg General Hospital, he was bedridden for a
long time. This was a major set-back in terms of his schooling. When he
regained the use of his arms, his mother brought him coloured crayons and
paper, and he began to draw his surroundings. He also took a keen interest in
music. In 1959 he was employed to paint curios, and took on the job out of
financial necessity. He was later encouraged to study under Cecil Skotnes (qv.)
at the Polly Street Art Centre.
A major influence on his artistic career was his meeting with Dumile Feni (qv.) in
1964, and after this his style shifted towards Feni’s to a notable degree. This is
evident in the attenuated expressionism in this single work by Tshabalala in the
Campbell Smith Collection, titled “Number one dancer”. He launched himself as
a full-time artist in 1966. Although he still wears calipers as a result of his illness,
Tshabalala has managed to live a normal life. He has married and has four
children and continues to live and work in Johannesburg. He now works mainly
in watercolour and acrylic.
Hayden Proud
Go to Gallery
Born Belfour, Mpumalanga, 1941. Training Educated at the Methodist School, 1/5
Moroka. Exhibitions 1979: Art from South Africa/Art from Soweto, Bonn,
revisions.co.za/biographies/enoch-tshabalala/#.Yexfov5MFD8
1/22/22, 1:49 PM Enoch Tshabalala -
Germany and touring. Collections Represented in various corporate and private
collections.
Photograph of Enoch Tshabalala. Courtesy of Prince Dube, Johannesburg.
____________________________________________________________________________________________
This work (plate 28) is an early pastel by Tshabalala that predates the dramatic
change in his style following his first meeting with and exposure to the work of
Dumile Feni in 1964 (See ReVisions, pp. 198-199, (plate 170). Unlike many
generally later images of ‘township’ life which project a sense of activity using
brighter colour, Tshabalala’s work seems more sombre, with a greater sense of
realism. Dating from the early 1960s, it reflects the first springing up of informal
settlements at this same time, created by the influx into the cities of job- seekers
from the rural areas or those displaced by group areas legislation. The chaotic
shanty-towns and slums which are now so much a feature of our present did
not really exist before this, and were a new feature of South Africa’s urban
landscape. Even the so-called ‘locations’ of earlier times were much more
orderly by comparison.
Hayden Proud
2/5
Certificate of Authenticity
This is to certify the artwork pictured below, entitled
Township Young Ones Playing In Soweto II
Artist: Eric Mbatha (1948-2012)
Original hand colored etching
Artists proof on paper, 6/10
Image Size: 10”x16”
Custom Framed
______________________________________________
Archie Listenbee II - CFO
Dealers in Fine Paintings - Lithographs - Oils - African and Asian Sculpture
2108 Busse Hwy (773) 301-3022
Des Plaines, Il 60016 [email protected]
1/22/22, 1:55 PM Eric Mbatha
Like Be the first of your friends to like this.
Eric
Mbatha
Eric Mbatha had a longer
relationship with Rorke’s Drift
than most artists, being
associated with the centre for
most of the 1970s. He was part
of the second intake of artists who commenced classes in 1971. The early
1970s saw a greater emphasis on intaglio printmaking at the centre, and this
included etching, aquatint, drypoint and even mezzotint. Students were also
encouraged to experiment by printing etchings in colour, as opposed to
colouring prints by hand. Mbatha’s African queens (plate 211) is seen in the
Campbell Smith Collection in a black and white version. The same image is an
example of an etching and aquatint that was also printed sensitively in colour
and where the colour actually enhanced the completed print. In other versions
Mbatha selectively inked various sections of the plate in brown, green and black.
In this work one can also discern a similar approach to subject matter adopted
by Mbatha’s contemporaries at Rorke’s Drift such as Dan Rakgoathe (qv.) and
Cyprian Shilakoe (qv.).
Joe Dolby
Go to Gallery
Born Soweto, 1948. Training 1971: Evangelical Lutheran Art and Craft Centre at 1/5
Rorke`s Drift. Exhibitions 1976: Black South Africa: Contemporary Graphics,
Brooklyn Museum, New York. 1976: Visiting artist at Augsburg College,
Minneapolis, USA. Collections Iziko South African National Galllery, Cape Town;
De Beers Centenary Art Gallery, University of Fort Hare, Alice.
Photograph of Eric Mbatha. Source: Prince Dube.
____________________________________________________________________________________________
Eric Mbatha’s etchings Young ones and the Gods (1971) (plate 34) and Family
IV (1970) (plate 35) augment this artist’s African Queens (now dated c.1971) in
revisions.co.za/biographies/eric-mbatha/#.YexhN_5MFD8
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