This paper tag is labeled "N° 13/0436 Point Alençon Louis XVI made by hand in... for the C'on for Relief in Belgium" On the reverse is a red wax seal embossed with “Commission for Relief in Belgium, Dentelle Belge” and an image of the Belgian Lion. A black, yellow, and orange cord is sealed into the wax, and “$24.00” is lightly penciled in on the card. The tag came to the museum without the lace attached.
One of a set of six identical curved stylized cone or paisley shaped black silk Chantilly bobbin lace appliqués or insertions. The attached paper tag states "131, 6 pieces, No 10/55, Chantilly, made by hand in Flanders for the C'on for Relief in Belgium, M. Kefer Mali". Each piece is labeled "10/55, $.45 each". Madame Kefer-Mali was one of four women on the Lace Committee working with the Commission for Relief in Belgium. The lace was made by Belgian lace makers during World War I.
This much-used bible belonged to Delaware farmer Stokely Sturgis, who converted to the growing Methodist movement through the influence of an enslaved man named Richard Allen. Moved by Methodism’s indictment of slaveholding, Sturgis agreed to sell Allen his freedom. Allen became a preacher and moved to Philadelphia. He founded the Bethel African Methodist Episcopal Church there in 1794.
The coat-of-arms of the Belgian province of West Flanders is depicted on this Mechlin bobbin lace piece. It was made by Belgian lace makers during World War I and was most likely intended to be inserted into a larger item. See a similar motif in TE*E383965.
Floral motifs in the Valenciennes square mesh bobbin lace technique were used for this cotton lace border. The repeated pattern is four and three-eight inches long, and the ends are unfinished. The pattern is the same as in TE*T14225B, except for the scalloped edge. It was identified by the donor as lace made by Belgian lace makers during World War I.
Twenty-five squares with mythical motifs were assembled to make this bedcover. Seven different fantastical needle lace motifs are repeated one to five times. The bedcover is assembled from different types of bobbin and needle lace. The geometric point de Venise style needle lace border is stitched together in the corners. Insertions of Brussels style bobbin lace connected with Alençon style needle lace mesh separate the various motifs. The donor identified this as lace made by Belgian lace makers during World War I.
This piece of lace depicts the Russian Imperial coat-of-arms, a double-headed eagle with St. George slaying the dragon on the center shield. The Mechlin bobbin lace medallion was made by Belgian lace makers during World War I and was likely intended to be inserted into a larger item.
The leaf pattern on this border is made in the Valenciennes square mesh bobbin lace technique in cotton thread. It has a two and one-half inch long pattern repeat. The edges are straight with picots on one side and unfinished ends. It was identified by the donor as lace made by Belgian lace makers during World War I.
Part of a set of six, this Valenciennes bobbin lace medallion focuses on the American eagle motif. Two other medallions with the Belgian lion coat-of-arms, two with the municipal shield of Ruysselede (Ruiselede) in the Belgian province of West Flanders; and another with the American eagle complete the set. See a similar motif in TE*E383967. Belgian lace makers made these laces during World War I.
Door hanger left by an election canvasser campaigning for Democrat Barack Obama in 2012.
Going door to door to canvass undecided, indifferent, and lazy voters is a time-honored tradition. To be effective, canvassing requires feet on the ground, a business-like organization of campaign staff and volunteers. Canvassing has persisted well into the television and Internet age, guided by predictive models to determine how to turn out the vote and win elections.
Round collegiate pin-back button is white with blue printing, "No Missouri Compromise Bates Must Play."
This is a button from the 1940 student led protest of the N.Y.U. football program holding star fullback, Leonard Bates, out of the coming contest against the University of Missouri. The students, known as the Bates Seven, were suspended from N.Y.U. for three months due to the protests.
Bates was being held out of the game due to a "gentlemen's agreement" between teams, in which opposing teams would sit their own black players against teams that had racist policies against fielding black athletes.
The N.Y.U. football team began play in 1873 but ended the program permanently in 1952. The team was known as the NYU Violets.
The New York Panther 21 were members of the Black Panthers who were accused of coordinating bombing attacks on police stations in New York City. All were acquitted.
The poster features a Black man, his left arm raised, his hands in a fist. There is a chain around his wrist. He wears his hair in an afro. His head is tilted back and his mouth is open as if shouting. He is wearing a jacket with a sweater underneath. The abstract background is made up of black crossed lines resembling windows or bars in a cage. These lines are set against a neon yellow, orange, pink, and red background. There is a series of six abstract conical figures that resemble New York City's Chrysler Building or Empire State Building. On the right side of the poster are the words "POWER TO THE PEOPLE" in bold red, uppercase letters. In very small print in the bottom right of the poster are the words, "The Committe[sic] to Defend the Panther 21, 37 Union Square West, 4th Floor, New York, New York 10003," followed by a seven digit phone number. Below these words are the letters "ARM." In the bottom left of the poster, in red, uppercase letters, are the words "FREE THE NEW YORK PANTHER 21."