Small objects contain big histories within SLAM’s holdings

Rings, coins, brooches, and bracelets—objects that can fit in the palm of your hand can leave a lasting impression. The following objects, owned by people of all walks of life, have long and unique histories as cultural relics. Continue reading to learn more about some of the smaller objects in the Museum’s global collection.

Billiken

The rounded form, pointed head, and impish grin help identify this figure as a billiken. Developed by Florence Pretz, a Kansas City art teacher in 1908, the billiken character circulated widely in American popular culture. It represented hope, happiness, and things as they ought to be, and went on to inspire songs such as the “Billiken Rag.” It also became the mascot for sports teams including the athletics program of Saint Louis University. Through the 20th century, the billiken remained a mainstay in the repertoire of Alaska Native artists who created sculpture for sale to collectors and travelers. A gold nugget inlaid in the belly distinguishes this ivory work, which stands a little more than an inch tall. 

This work is on view in the Interco Charitable Trust Gallery 326.

Armband

Measuring around seven inches on the longest side, this armband is made of tortoise shell, a rare and precious material. Created by an Aitape artist in the 19th or 20th century, this highly valued adornment circulated throughout the Sepik River valley. On the Papua New Guinea coast, men wore the bands on their arms, while in the Middle Sepik River region masqueraders attached the armbands to the backs of large ancestor masks for dancing. Armbands could be exchanged or given as a sign of friendship. 

This work is on view in Gallery 106.

Brooch

A turquoise stone cradled in a silver butterfly, this 2 1/2-inch-wide brooch portrays the Diné peoples’ diverse history with forging, casting, and filing jewelry. Diné men learned from Spanish-speaking smiths in the southwest techniques of fashioning silver into jewelry in the mid-19th century.  

Diné peoples historically wore silver jewelry as emblems of their wealth. By the 1890s, smiths also made works for the souvenir market in the Southwest. Diverse populations in the region continue to wear Native-made silver and stone jewelry today, as the cosmopolitan stories and significations of the materials continue to unfold. 

This work is on view in the Elissa and Paul Cahn Gallery 323.

Double Diptych Icon Pendant

Like a locket, this artwork served a public and private role for its owner. Worn suspended from the neck, the pendant’s incised crosses on the outside of the small doors proclaimed Christian identity and served indigenous beliefs for deflecting harm. Behind each closed door, vibrantly colored scenes inspired moments of personal prayer and contemplation. On one side, St. George slays a dragon opposite Mary and Jesus. On the other side, the Crucifixion appears opposite two historical Ethiopian saints. Gabra Manfas Qeddus (died c.1400), appearing with a lion and wearing a cloak made from his own hair, was a hermit and ascetic especially gifted with animals. Abuna Ewostatewos (c.1273–1352), bearing a long beard and handheld cross, founded monasteries in the Tigray region of northern Ethiopia. Christianity in Ethiopia dates to the 4th century. When opened, the piece is around four inches wide.

This work is on view in Gallery 102.

Solidus of Byzantine Empire with Bust of Jesus Christ, minted under Justinian II

A particularly important moment in the history of Christian art is depicted on this gold coin that is three-fourths of an inch in diameter. A bearded image of Christ Pantokrator (Ruler of All), inspired by earlier Greco-Roman images of the god Zeus, dominates the obverse (front). In his left hand, Christ holds the book of Gospels; his right hand is raised in a gesture of benediction. On the reverse, the emperor Justinian, rendered at a smaller scale, identifies himself as a “servant of Christ.”   

This imagery represents the first time in the history of the Byzantine Empire that Jesus Christ appears as the preeminent image on coinage, with the emperor relegated to subservient status on the back. 

This work is on view in the Brent R. Benjamin Gallery 208.

Vessel in the Form of an Owl

Intertwining black and red spirals painted on the body of this eight-inch-tall owl contrast with more realistic facial markings. Artists associated with the ancient city of Paquime, and nearby archaeological sites in present-day northern Chihuahua, Mexico, frequently painted figural vessels with a combination of abstract and naturalistic imagery. Owls represent one form among a staggering range of Casas Grandes vessels, including humans, various animals, and an array of non-figural jar shapes. Casas Grandes ceramics reconfigure designs from older southwestern painted vessels while using inventive polychrome palettes. This artistic revival likely presented the past as an ideal age, a concept that would support leaders’ claims to distinguished ancestry. 

This work is on view in Gallery 113.