The collection consists of an album containing 104 photographic prints dating from circa 1946. The photographs depict British soliders and native police, landscape views, a Victory Day parade, and scenes of daily life in and around Freetown, Sierra Leone, and Accra, Achimota, Takoradi, Teshi and Tamale in Ghana. Also included are images of the Volta River, the Oburi (Aburi) Gardens near Accra, and Osu Castle (also known as Fort Christiansborg or Christiansborg Castle), the seat of government in Ghana.
This accession consists of records that document the Natural Resource Conservation and Historic Preservation Project in the Central Region of Ghana, otherwise known as the "Ghana Project," in which the Smithsonian Institution's Office of International Relations and the Midwest Universities Consortium for International Activities (MUCIA) w...
The majority of the photographs were taken in Cape Coast. Some the images were taken in Elmina. Several images depict chiefs, including a chief of Elmina, in their regalia and with their entourages. Other images depict Fante peoples in studio settings. Their attire and coiffures are of great relevance for art historical study. Also included in the album are images of the architecture of Cape Coast and Elmina.
Photographs taken by Janet Stanley while working with the Ghanaian Youth Workcamp Association, from mid-June through mid-August, 1967. During this time, she served at two work camps, the first being in Awundome-Tsito, Ho District, Volta Region, where most of the slides were taken. The other photographic images were taken at Accra, her point of entry.
Photographs taken by Thomas William Maccaulay Smith, an avid photographer, while serving as U.S. Ambassador to Ghana in the early 1980s. The images provide extensive documentation of woodworking techniques to include the carving of tools, stools, canoes and figures. Also included among the images are the textile production and blacksmithing.
Photographs taken by Agbenyega Adedze in 1989 documenting textile marketing and production among the Ewe people in Togo and southeastern Ghana, as well as an Ewe festival in Togo. The trip was funded by the National Museum of African Art.
Photographs of West Africa, mostly from Lagos and coastal Nigeria, 1877-1895. There are high quality pictures of trading houses and residences in Lagos, often with the name of the owners given in the caption. One of the buildings depicted is the cathedral. Several exceptional images portray chiefs, such as the King of Opobo, and the wives of the King of Opobo, the Balogun of Epe, the Alake of Abeokuta, and the chief of New Calabar. Of greatest interest is a photograph entitled "Benin Gods" which shows figures from the Kingdom of Brass, taken in circa 1877/1878. There are also views of Cape Coast, Elmina, Accra, Wydah, Fernando Poo, Porto Novo, Grand Popo, and one from Liberia. The themes range from architecture to dances and weddings. Of particular interest are two depictions of fancy dress.
Photographs taken by Warren Robbins during a research trip to Cameroon, Liberia, Nigeria, Senegal and Ghana in 1982.
Photographs taken by Patricia Coronel of Aowin (Akan) arts, Ghana, 1972-1974.