"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 24 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 1.
Slide No. E 1 BMB 24 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 25 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 26.
Slide No. E 1 BMB 25 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 25.1 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 29.
Slide No. E 1 BMB 25.1 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 25.2 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 28.
Slide No. E 1 BMB 25.2 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 25.3 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 32.
Slide No. E 1 BMB 25.3 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 26 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 27.
Slide No. E 1 BMB 26 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 26.1 EE 70
General:
Citation source: Archives staff.
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 13.
Slide No. E 1 BMB 26.1 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the Bamana world, objects such the antelope headdresses always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
E 1 BMB 27 EE 70
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 12.
Slide No. E 1 BMB 27 EE 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts Asantehene Otomfuo Nana Opoku Ware II, on the occasion of the state visit of the Ya Na, paramount chief of Dagomba, Northern Region, Ghana. "Paramount chiefs maintain a group of sword-bearers, each of whom carries one of the state swords on public occasions. But while swords are thus essential items of regalia, their use is symbolic. Many sword ornaments were cast earlier in this century to enhance the prestige of the chief. Popular ones were the highly valued red cockle shells, also the skulls of wild animals. In Ghana, the pendant gold heads were usually attached to state swords, where they represent the head of enemies killed in battle." [Timothy F. Garrard, 1989: Gold of Africa, Prestel]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
C 2 ASH 22.1 EE 71
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
N6 37
Frame value is 12.
Slide No. C 2 ASH 22.1 EE 71
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts detail of ceremonial sword held by attendant of Asantehene Otomfuo Nana Opoku Ware II. "In the nineteenth century sword ornaments became more varied and numerous, often representing a proverbial theme. Further proliferation occured in this century, more specifically after 1924, when the Asantehene Prempeh I returned from his long exile." [Timothy F. Garrard, 1989: Gold of Africa, Prestel]. "Although often identified with the Asante, the most numerous and best known of the Akan peoples, weights for measuring gold dust were made and used throughout Ghana and Côte d'Ivoire. Some figurative weights evoke well-known Akan proverbs, and more than one proverb may apply. This is particularly true of animal weights, although the nimsaakakyi, an antelope with very long horns, fairly consistently refers to the uselessness of hindsight; in other words, "It is always too late to say 'Had I known!'" This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
C 2 ASH 24 EE 71
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
N7 39
Frame value is 7.
Slide No. C 2 ASH 24 EE 71
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts detail of ceremonial sword held by attendant of Asantehene Otomfuo Nana Opoku Ware II. "In the nineteenth century sword ornaments became more varied and numerous, often representing a proverbial theme. Further proliferation occured in this century, more specifically after 1924, when the Asantehene Prempeh I returned from his long exile." [Timothy F. Garrard, 1989: Gold of Africa, Prestel]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
C 2 ASH 54 EE 71
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
N6 37
Frame value is 32.
Slide No. C 2 ASH 54 EE 71
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from August 18, 1959 to December 20, 1959.
Local Numbers:
T 3 CAE 1 EE 59
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
57938 1 01
Frame value is 5.
Slide No. T 3 CAE 1 EE 59
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from August 18, 1959 to December 20, 1959.
Local Numbers:
T 3 CAE 1.0.1 EE 59
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
57938 1 01
Frame value is 4.
Slide No. T 3 CAE 1.0.1 EE 59
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from August 18, 1959 to December 20, 1959.
Local Numbers:
T 3 CAE 1.0.2 EE 59
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
57938 1 01
Frame value is 8.
Slide No. T 3 CAE 1.0.2 EE 59
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from August 18, 1959 to December 20, 1959.
Local Numbers:
T 3 CAE 2 EE 59
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
57938 1 01
Frame value is 3.
Slide No. T 3 CAE 2 EE 59
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"The mastaba of Ptahhotep, northwest of the Step Pyramid, is a funerary complex built for two Ptahhoteps and an Akhihotep. Ptahhotep ('Ptah is happy') was one of the greatest noblemen of late Fifth Dynasty. A kaleidoscope of genre scenes is represented in seven registers on the east wall of the cult chamber. Watching them is Ptahhotep with his eldest son, also named Ptahhotep. Domestic animals were an important asset and their care was recorded and carefully represented on the walls of the deceaseds tomb. In some cases the animals were led to the owner as an offering, in others simply to be inspected. In this delicate and carefully carved low relief it is possible to see servants bearing offerings." [Zahi Hawass, 2003: The Treasures of the Pyramids. White Star Publishers]. "Saqqâra (Ṣaqqārah) is a large necropolis south of Cairo and west of ancient Memphis. It was the necropolis of ancient Memphis; has remains of several pyramids from 5th and 6th dynasties and the famous Step Pyramid, the earliest true pyramid in Egypt, built for King Zoser (Djoser) of the 3rd dynasty ca. 2630 BC by his prime minister Imhotep. It is not to be confused with the modern town of the same name." [The J. P. Getty Fund: Thesaurus of Geographical Names]. This photograph was taken when Eliot Elisofon was on assignment for American Institute of Architects, directing the Egyptian portion of the documentary on Ancient Egypt, March 1965 and September 1965.
Local Numbers:
T 6 EGY 71.5 EE 65
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 0.
Slide No. T 6 EGY 71.5 EE 65
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"The mastaba of Ptahhotep, northwest of the Step Pyramid, is a funerary complex built for two Ptahhoteps and an Akhihotep. Ptahhotep ('Ptah is happy') was one of the greatest noblemen of late Fifth Dynasty. A kaleidoscope of genre scenes is represented in seven registers on the east wall of the cult chamber. Watching them is Ptahhotep with his eldest son, also named Ptahhotep. Domestic animals were an important asset and their care was recorded and carefully represented on the walls of the deceaseds tomb. In some cases the animals were led to the owner as an offering, in others simply to be inspected. In this delicate and carefully carved low relief it is possible to see servants bearing offerings." [Zahi Hawass, 2003: The Treasures of the Pyramids. White Star Publishers]. "Saqqâra (Ṣaqqārah) is a large necropolis south of Cairo and west of ancient Memphis. It was the necropolis of ancient Memphis; has remains of several pyramids from 5th and 6th dynasties and the famous Step Pyramid, the earliest true pyramid in Egypt, built for King Zoser (Djoser) of the 3rd dynasty ca. 2630 BC by his prime minister Imhotep. It is not to be confused with the modern town of the same name." [The J. P. Getty Fund: Thesaurus of Geographical Names]. This photograph was taken when Eliot Elisofon was on assignment for American Institute of Architects, directing the Egyptian portion of the documentary on Ancient Egypt, March 1965 and September 1965.
Local Numbers:
T 6 EGY 71.5.1 EE 65
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 0.
Slide No. T 6 EGY 71.5.1 EE 65
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"The mastaba of Ptahhotep, northwest of the Step Pyramid, is a funerary complex built for two Ptahhoteps and an Akhihotep. Ptahhotep ('Ptah is happy') was one of the greatest noblemen of late Fifth Dynasty. A kaleidoscope of genre scenes is represented in seven registers on the east wall of the cult chamber. Watching them is Ptahhotep with his eldest son, also named Ptahhotep. Domestic animals were an important asset and their care was recorded and carefully represented on the walls of the deceaseds tomb. In some cases the animals were led to the owner as an offering, in others simply to be inspected. In this delicate and carefully carved low relief it is possible to see servants bearing offerings." [Zahi Hawass, 2003: The Treasures of the Pyramids. White Star Publishers]. "Saqqâra (Ṣaqqārah) is a large necropolis south of Cairo and west of ancient Memphis. It was the necropolis of ancient Memphis; has remains of several pyramids from 5th and 6th dynasties and the famous Step Pyramid, the earliest true pyramid in Egypt, built for King Zoser (Djoser) of the 3rd dynasty ca. 2630 BC by his prime minister Imhotep. It is not to be confused with the modern town of the same name." [The J. P. Getty Fund: Thesaurus of Geographical Names]. This photograph was taken when Eliot Elisofon was on assignment for American Institute of Architects, directing the Egyptian portion of the documentary on Ancient Egypt, March 1965 and September 1965.
Local Numbers:
T 6 EGY 71.5.2 EE 65
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 0.
Slide No. T 6 EGY 71.5.2 EE 65
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"The mastaba of Ptahhotep, northwest of the Step Pyramid, is a funerary complex built for two Ptahhoteps and an Akhihotep. Ptahhotep ('Ptah is happy') was one of the greatest noblemen of late Fifth Dynasty. A kaleidoscope of genre scenes is represented in seven registers on the east wall of the cult chamber. Watching them is Ptahhotep with his eldest son, also named Ptahhotep. Domestic animals were an important asset and their care was recorded and carefully represented on the walls of the deceaseds tomb. In some cases the animals were led to the owner as an offering, in others simply to be inspected. In this delicate and carefully carved low relief it is possible to see servants bearing offerings." [Zahi Hawass, 2003: The Treasures of the Pyramids. White Star Publishers]. "Saqqâra (Ṣaqqārah) is a large necropolis south of Cairo and west of ancient Memphis. It was the necropolis of ancient Memphis; has remains of several pyramids from 5th and 6th dynasties and the famous Step Pyramid, the earliest true pyramid in Egypt, built for King Zoser (Djoser) of the 3rd dynasty ca. 2630 BC by his prime minister Imhotep. It is not to be confused with the modern town of the same name." [The J. P. Getty Fund: Thesaurus of Geographical Names]. This photograph was taken when Eliot Elisofon was on assignment for American Institute of Architects, directing the Egyptian portion of the documentary on Ancient Egypt, March 1965 and September 1965.
Local Numbers:
T 6 EGY 71.5.3 EE 65
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 0.
Slide No. T 6 EGY 71.5.3 EE 65
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"The mastaba of Ptahhotep, northwest of the Step Pyramid, is a funerary complex built for two Ptahhoteps and an Akhihotep. Ptahhotep ('Ptah is happy') was one of the greatest noblemen of late Fifth Dynasty. A kaleidoscope of genre scenes is represented in seven registers on the east wall of the cult chamber. Watching them is Ptahhotep with his eldest son, also named Ptahhotep. Lively episodes of fowling and fishery are depicted in the two lowest registers. The relief sculpted in The fourth register of this panorama shows a hunt in the desert. It surprises the viewer with its dynamism. The fighting and copulating wild animals are reminiscent of some scenes depicted in the sun temples of the Fifth Dynasty." [Zahi Hawass, 2003: The Treasures of the Pyramids. White Star Publishers]. "Saqqâra (Ṣaqqārah) is a large necropolis south of Cairo and west of ancient Memphis. It was the necropolis of ancient Memphis; has remains of several pyramids from 5th and 6th dynasties and the famous Step Pyramid, the earliest true pyramid in Egypt, built for King Zoser (Djoser) of the 3rd dynasty ca. 2630 BC by his prime minister Imhotep. It is not to be confused with the modern town of the same name." [The J. P. Getty Fund: Thesaurus of Geographical Names]. This photograph was taken when Eliot Elisofon was on assignment for American Institute of Architects, directing the Egyptian portion of the documentary on Ancient Egypt, March 1965 and September 1965.
Local Numbers:
T 6 EGY 71.6 EE 65
General:
Title is provided by EEPA staff based on photographer's notes.
Local Note:
Frame value is 0.
Slide No. T 6 EGY 71.6 EE 65
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
