Rare and very interesting photos

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Jonathan McPherson holds the double-barrel shotgun he carried to guard Martin Luther King Jr. when the civil rights leader rested in this Smithfield house.
:clap::clap:

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like a boss





Sarah Breedlove (December 23, 1867 – May 25, 1919), known as Madam C. J. Walker, was an American entrepreneur and philanthropist, regarded as the first female self-made millionaire in America. She made her fortune by developing and marketing a successful line of beauty and hair products for black women under the company she founded, Madam C. J. Walker Manufacturing Company.

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Madam Walker’s only daughter, Lelia Walker (later known as A’Lelia Walker) encouraged her mother to relocate her company’s headquarters to New York. Lelia arrived in Harlem in 1913, when her mother purchased a row house at 108 West 136th Street, just as New York City’s burgeoning black population was expanding into Harlem, and solidifying its status as the “capital of Black America.” By 1915, Madam Walker bought a second row house at 110 West 136th Street, and moved to the city in 1916.

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Madam C.J. Walker's townhouse 108-110 West 136th Street, 1915. Madam Walker's car and driver. [Byron Company from the collections of the Museum of the City of New York]


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Madam C.J. Walker's townhouse 108-110 West 136th Street, Vertner Tandy, architect [Byron Company from the collections of the Museum of the City of New York]


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A'Lelia Walker's bedroom, Madam C.J. Walker's townhouse, 1915. [Byron Company from the collections of the Museum of the City of New York


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The interior of Madam C.J. Walker's Beauty Parlor, 1915 [Byron Company from the collections of the Museum of the City of New York]


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Tea room in Madam C.J. Walker's townhouse [Byron Company from the collections of the Museum of the City of New York]

 
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During the second half of the nineteenth century, when the kingdom was most powerful, Mangbetu aristocrats surrounded themselves with a wide variety of finely crafted utilitarian objects–boxes, jars, stools, musical instruments, and weapons. A distinctive tradition of anthropomorphic sculpture associated with Mangbetu culture developed about 1900. Although such forms predate the colonial presence, European patrons greatly expanded the demand for them. These works show the elaborate reed-reinforced coiffures and elongated heads once common among the Mangbetu, who in the past shaped infants’ skulls by gentle pressure.
http://afrotexturedart.com/post/142698213222/figurative-art-by-the-mangbetu-people-the-met
 
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