The collection contains 2136 color 35mm slides and 829 color 35mm negatives taken by Robert Pringle, former Ambassador to Mali, between 1980-1989. The images were taken in Mali, Burkina Faso and Kenya, and depict masquerades, vernacular architecture (including Dogon doors and granaries), mosques, marketplace scenes, pottery, masks (including plank and leaf masks), weaving, art in situ, animals and landscapes. Culture groups represented in the collection include the Tuareg, Lobi, Maasai, Mossi, Dogon, Fula and Bobo (Bwa) peoples. Ambassador Pringle traveled with photographer Christopher Roy and some of Pringle's images depict Roy at work with his own camera.

Photographic print of Eliot Elisofon accepting an award on March 1, 1953 from Modern Photography for "Outstanding Color Photography" in the film Moulin Rouge.

This collection is comprised of two issues of Life Magazine that include photographs by Eliot Elisofon. The articles that feature his work are "The Hopeful Launching of a Proud and Free Nigeria" (September 26, 1960) and "Africa's Savage Beauty" (October 13, 1961).

Photographs displayed in the exhibition entitled, "Regards croises," held at the National Museum of Mali in Bamako, Mali, from July 27 through August 26, 1990. The exhibit was a joint effort between the National Museum of Mali and The National Museum of African Art (U.S.), which included images from both museums. The prints are complementary copies from the National Museum of Mali. The National Museum of African Art provided images from the photographer, Eliot Elisofon.

The collection consists of 17 color photographic prints and (23) 35mm negatives which were taken in Sierra Leone in 2003, which focus on textile manufacture, specifically needlepointed carpet slippers worn by the Krio women of Freetown.

Collection dates from 1966 to 1976 and includes 1,817 black and white negatives, 1,519 35mm color slides, several hundred prints, and manuscript materials. Locations include Burkina Faso, Cote d'Ivoire, Gabon, Israel, Mali, and Niger and depict agriculture, architecture, especially mosques, landscapes, marketplaces, masquerade and musical performances, sculptures, and textiles. Peoples depicted include the Bambara, Bella, Bozo, Dogon, Fulani, Gao, Mandingo, San, Songhai, and Tuarag peoples.

Photographs taken by Seligman between 1970 and 2004 primarily of West Africa, including Senegal, Gambia, Guinea Bissau, Mali, Dogon, Zimbabwe, Zambia, Botswana, Swaziland, Kenya, and Morocco. Additionally, there are some images of masquerades in Cote d'Ivoire and Togo, and scenes in Ghana and Great Zimbabwe. Images depict cultural landscapes, masqu...

This collection includes 329 black and white photographic prints, measuring 8 x 10 inches or smaller, that depict African art objects and were published in Warren M. Robbins' book, African Art in American Collections (New York, Washington, London: Praeger, 1966).

The collection consists of approximately 1,950 glass plate and large format film negatives,100 hand-tinted and black-and-white prints and four photographic albums containing prints of various sizes, taken by Chief Solomon Osagie Alonge, the royal photographer to the Oba of Benin, Akenzua II (1933-1978). These images span six decades (1926 - 1989) and represent a dynamic, continuous record of the Benin Royal Court in Nigeria. Alonge documented the pageantry, ritual and regalia of the Obas, their wives and retainers for over a half-century, including the coronation of the King and the Iyoba, or queen mother. The collection also documents historic visits to Benin by Queen Elizabeth and Prince Philip (1956), Princess Alexandra (1960), foreign dignitaries, traditional rulers, political leaders and celebrities. The collection preserves an important historical record of Benin art and culture during the periods of British colonial rule and Nigerian independence in the 20th century. The rarity and historical value of the collection are enhanced by Alonge's privileged access to the Palace as a chief in the Iwebo Palace Society, a position which presents a unique insider's view of Benin royalty. The quality of the collection is testament to Alonge's technological skills in photography and his professionalism in keeping the collection ordered and well-preserved despite the heat, humidity and tropical climate of Nigeria.