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Bamum-Frau Lydia aus Fumban, Kamerun Lydia, femme bamoum, Cameroun

Photographer:
Rein-Wuhrmann, Anna, 1881-1971  Search this
Creator:
Museum für Völkerkunde und Schweizerisches Museum für Volkskunde Basel  Search this
Collection Collector:
National Museum of African Art (U.S.)  Search this
Extent:
1 Postcard (halftone., monochrome, 15 x 10.5 cm.)
Container:
Volume 1
Culture:
Bamun (African people)  Search this
Type:
Archival materials
Postcards
Postcards
Picture postcards
Place:
Africa
Cameroon
Cameroon -- West -- Noun -- Foumban
Date:
ca. 1994
Scope and Contents:
Printed text on recto reads: "Bamum-Frau Lydia aus Fumban, Kamerun / Lydia, femme bamoum, Cameroun."
Translated caption reads: "Lydia, Bamun woman of Fumban, Cameroon."
Additional printed text on verso reads: "Foto: Anna Wuhrmann, um 1913 (III 494) / © Museum für Völkerkunde Basel / 94/2 Best. Nr. 2591."
Duplicate recto image on items EEPA CM-05-01 and CM-05-07.
Local Numbers:
EEPA CM-05-01
General:
Title source: Postcard caption.
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.
Topic:
Body arts  Search this
Hairstyles -- Africa  Search this
Scarification (Body marking)  Search this
Genre/Form:
Picture postcards
Collection Citation:
African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1985-014, Item EEPA CM 1995-037-0001
See more items in:
African Postcard Collection
African Postcard Collection / Series 7: Cameroon (CM)
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1985-014-ref3567

Mandu, Nichte des Königs Njoya von Bamum, Kamerun Mandu, nièce du roi Njoya, Cameroun

Photographer:
Rein-Wuhrmann, Anna, 1881-1971  Search this
Creator:
Njoya, Sultan of Bamoun, 1876?-1933  Search this
Museum für Völkerkunde und Schweizerisches Museum für Volkskunde Basel  Search this
Collection Collector:
National Museum of African Art (U.S.)  Search this
Extent:
1 Postcard (halftone., monochrome, 15 x 10.5 cm.)
Container:
Volume 1
Culture:
Bamun (African people)  Search this
Type:
Archival materials
Postcards
Postcards
Picture postcards
Place:
Africa
Cameroon
Cameroon -- West -- Noun -- Foumban
Date:
ca. 1994
Scope and Contents:
Printed text on recto reads: "Mandu, Nichte des Königs Njoya von Bamum, Kamerun / Mandu, nièce du roi Njoya, Cameroun."
Translated caption reads: "Mandu, niece of King Njoya of Bamum, Cameroon."
Additional printed text on verso reads: "Foto: Anna Wuhrmann, um 1912 (III 524) / © Museum für Völkerkunde Basel / 94/1 Best. Nr. 2590."
Local Numbers:
EEPA CM-05-02
General:
Title source: Postcard caption.
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.
Topic:
Body arts  Search this
Hairstyles -- Africa  Search this
Costume -- Africa  Search this
Genre/Form:
Picture postcards
Collection Citation:
African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1985-014, Item EEPA CM 1995-037-0002
See more items in:
African Postcard Collection
African Postcard Collection / Series 7: Cameroon (CM)
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1985-014-ref3568

William Ian Brinkworth collection

Creator:
Brinkworth, William Ian  Search this
Extent:
3600 Negatives (photographic) (0801-3332: B5-6; 3333-4422: B5-7, black and white ;, 35mm.)
637 Photographic prints (black and white.)
179 Transparencies (color ;, 35mm.)
8 Volumes (Books and magazines)
65 Manuscripts (document genre)
7 Sound recordings
Culture:
Nupe (African people)  Search this
Yoruba (African people)  Search this
Type:
Collection descriptions
Archival materials
Negatives (photographic)
Photographic prints
Transparencies
Volumes
Manuscripts (document genre)
Sound recordings
Manuscripts
Black-and-white negatives
Publications
Black-and-white photographs
Color transparencies
Audiotapes
Place:
Jebba (Nigeria)
Nigeria
Benin (Kingdom)
Africa
Date:
1901-1991
Summary:
William Ian Brinkworth's collection, dated from 1901 to 1991, includes an extensive number of black and white photographs, negatives, color transparencies, books, audio tapes, manuscripts, and research materials. The manuscripts include Brinkworth's book drafts, film treatments, correspondence, historical documents, legal documents, journals and magazines in which his work was published.
Scope and Contents:
Brinkworth's black and white photographs, 35mm negatives and color transparencies form a major component of the collection and illustrate a vast array of subjects titled and arranged by Brinkworth. Many images focus on the Benin region of Nigeria, Olakun figures and shrines, hairstyles, bronze casting and Benin bronzes, tattooing, the Queens of the Oba, crafts and art objects, towns and marketplaces, seated dancing, personal adornment, agriculture and industry, and ceremonies and the daily life of Nigerian people. Subjects of special interest include the "Watchers of the Night" masquerade, the crowning of a chief in Abeokuta and the titling of a Yoruba chief. Also included are images of a Felesh priest (or "God of Thunder"), the Yoruba city of Jebba, a Popo women's cult, the Nupe people and a workshop in Bida, the University College at Ibadan and G.A. Akiola, the Aro of Igan Alade. Although the images were largely taken in Nigeria, there are a small number that depict domestic life of the Brinkworth family in England.

Brinkworth's manuscripts and personal documents include an extensive official diary from 1901 of Major W. R. Reeve-Tucker, the first British Traveling Commissioner in Nigeria. The series also includes some of Brinkworth's passports, personal notes, an "Enquiry into the Ogwashi-Uku Native Court," a treatment for the film African Priestess, essay and book drafts (many focusing on the mud figures of Benin), an issue of Functional Photography magazine featuring an article by Ian Brinkworth, correspondence, and paperwork concerning the law suit filed against Brinkworth by Chief Obafemi Awolowo. Brinkworth's collection of publications contains books, pamphlets and articles from Noir Et Blanc and Picture Post featuring his photography.
Arrangement note:
Series 1 is arranged according to subject categories supplied by Brinkworth. Series 2 and 3 were kept in original order. Series 4 is organized according to Brinkworth's hand-written number annotations. All unnumbered transparencies were kept in the order in which they were received. Series 5 is arranged chronologically as well as according to Brinkworth's notes and number markings. Series 6 is arranged according to packet number, those unidentified are arranged miscellaneously. Series 7 is arranged according to subject and Series 8 is organized by tape number.

Series 1: Black and White Photographs, circa 1946-1957 (637 items; Box 1-5)

Series 2: Manuscripts and Personal Documents, 1901-1991 (65 Documents; Boxes 6-7)

Series 3: Publications, 1942-1956 (8 items; Box 8)

Series 4: 35 mm Color Transperancies, circa 1946-1957 (?)

Series 5: Black and White Negatives, circa 1946-1957 (3600 negatives; Cold Vault Shelves B5-6 and B5-7)

Series 6: Contact Sheets

Series 7: Research Materials and Inventories

Series 8: Audio Cassettes
Biographical/Historical note:
William Ian Brinkworth (1914-2000) was born in Karagpur, India to British parents and raised in Scotland, France, Germany and England. His interest in art brought him to the Slade School of Fine Art in London where he was trained as a painter. While studying there, Brinkworth was named a Slade Scholar and awarded the Slade Summer Composition Prize.

The outbreak of World War II changed Brinkworth's career path from painter to soldier. He first served in the Infantry, later joined the Intelligence Corps and then worked with the Free French forces and First Special Air Service Regiment. Brinkworth was taken prisoner in Sardinia for two years and after his release was seconded as a liaison officer between the Foreign Office and the United Nations in 1946. Brinkworth's military service earned him the Member of the British Empire (MBE) medal and an appointment by the British Colonial Administration Service to the position of Assistant District Officer to the Resident of Warri, Nigeria in 1946. He went on to become District Officer and finally Senior District Officer of the region.

Brinkworth's professional responsibilities involved extensive travel throughout Nigeria to many peoples and regions including Warri, Abeakuta, Badagri, Benin, Ogwashiuku, Alaro, Ibaden, Asaba and Ado-Ekiti. While serving as District Officer, Brinkworth was able to incorporate his artistic training and interests with his administrative obligations, chiefly through the mediums of photography and film. Brinkworth's administrative status and extensive interaction with local peoples of Nigeria earned him the privilege of witnessing and filming cultural traditions never before or rarely seen by Westerners.

Brinkworth served as a British Officer in Nigeria until 1957 and continued to minister as an advisor to the independent Nigerian nation during its transition to self-government. He then returned to England and pursued work as a broadcaster, documentary filmmaker, photographer, lecturer and writer. In 1961 he published his first novel, Jimmy Riddle [London; Cassell & Company Ltd., 1961], which won the Putnam Award. He went on to publish the novel's sequel, The Black List [London; Cassell & Company Ltd, 1962], and several other books including his 1966 autobiography The One-Eyed Man Is King [London; Cassell & Company Ltd, 1966]. He often wrote under the pseudonym "Ian Brook." Brinkworth also published several articles in The Geographical Magazine and The West African Review.

After retiring, Brinkworth lived in France with his second wife, Marida, from 1981-1991 before returning once again to England. Much of the photographic, film and art objects from his time in Africa were lost in shipment shortly before his death in 2000. The museum received the remainder of the collection through a donation by Marida Brinkworth in 2008.
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Beadwork  Search this
Bronzes  Search this
Decoration and ornament  Search this
Hairstyles -- Africa  Search this
Handicraft  Search this
Rites and ceremonies  Search this
Clothing and dress  Search this
Art in situ -- Photographs  Search this
Art objects  Search this
Agriculture  Search this
Kings and rulers  Search this
Masquerades  Search this
Marketplaces  Search this
Religious articles  Search this
Tattooing  Search this
Shrines  Search this
Genre/Form:
Manuscripts
Black-and-white negatives
Publications
Black-and-white photographs
Color transparencies
Photographic prints
Audiotapes
Citation:
William Ian Brinkworth collection, 2008-009, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.2008-009
See more items in:
William Ian Brinkworth collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-2008-009

Marilyn Houlberg Nigeria collection

Photographer:
Houlberg, Marilyn  Search this
Extent:
6567 Slides (photographs) (11 Binders, color)
14 Documents (1 Binder)
Culture:
Yoruba (African people)  Search this
Nigerians  Search this
Tuaregs  Search this
Fulani  Search this
Nuba  Search this
Igbo (African people)  Search this
Turkana  Search this
Pokot  Search this
Type:
Collection descriptions
Archival materials
Slides (photographs)
Documents
Color slides
Photographic prints
Photographs
Place:
Nigeria
Africa
Lagos (Nigeria)
Date:
1961-circa 2005
Summary:
The collection consists of 6,567 color slides taken by Dr. Marilyn Houlberg during various field studies among the Yoruba in southwest Nigeria between 1961 and circa 2005. The images depict Yoruba art and culture with a special focus on artisans, art objects, body arts, costume, festivals, hairstyles, indigenous photography, weaving and textiles. Cultural events depicted include Balufon festivals, Egungun and Gelede masquerades, social events (weddings, christenings, funerals), and religious ceremonies (initiation and animal sacrifice). Also included are various scenes of daily life, architecture, food preparation, markets, portraits and landscapes. Houlberg extensively documented Yoruba artists in the process of creating their art, including carvers Yesufu Ejigboye, Runshewe, and Lamidi Fakeye, as well as the final pieces themselves. Houlberg documentated art in situ, such as Yoruba house posts, shrines, wall art and wood doors and art objects, including Gelede masks, Ibeji (twin) and Eshu figures, Osanyin staffs, and Ogboni and Shango shrines. Manuscript and printed materials, including Houlberg's resume, thesis, and numerous published articles are also available in this collection.
Scope and Contents note:
This 6,567 slide collection documents Houlberg's studies in Southwestern Nigeria spanning from 1961 to circa 2005. The collection primarily includes photos of people, including the Ogboni, Pokot, Yoruba, Turkana and Igbo, shrines, festivals and rituals, art objects, and artists. A particular strength of the collection are photos of Balufon festivals, Egungun and Gelede masquerades, social events (weddings, christenings, funerals), and religious ceremonies (initiation and animal sacrifice). Also included are various scenes of daily life, architecture, food preparation, markets, portraits and landscapes. Houlberg mostly photographed in Ilishan, Ikenne, Ilara, Shagamu, Lagos, Ijebu-Ode, and Egbe.

Houlberg extensively documented Yoruba artists in the process of creating their art, including carvers Yesufu Ejigboye, Runshewe, and Lamidi Fakeye, as well as the final pieces themselves. Houlberg documentated art in situ, such as Yoruba house posts, shrines, wall art, wood doors and art objects, including Gelede masks, Ibeji (twin) and Eshu figures, Osanyin staffs, and Ogboni and Shango shrines. Several Yoruba art forms, including photography, scarification tattoos, and textiles (both cloth and dress), are represented in the collection. Additionally, there are numerous slides of Yoruba hairstyles, many of which she published in her article, Social Hair: Tradition and Change in Yoruba Hairstyles in Southwestern Nigeria.

Yoruba ritual specialists, such as Ife-olu Solaru, Olufunke, and Yesufu Ejigboye, appear frequently throughout the collection. Houlberg documented her many stays with these individuals over the years.

There is also one binder of manuscript and printed materials, including Houlberg's resume, thesis, and numerous published articles.
Arrangement note:
The collection is organized into 29 series according to subject. The series descriptions correspond with particular subjects used in Houlberg's teaching and lectures. All slides were kept in the order in which they were donated.

Series 1: African Hairstyles, circa 1973-1994 (Binder 1; 212 slides)

Series 2: Egungun Festival, 1961-circa 1988 (Binder 1; 362 slides)

Series 3: Gelede, circa 1969-circa 1989 (Binder 2; 301 slides)

Series 4: Ibeji Twins, circa 1969-circa 1990 (Binders 2-3; 854 slides)

Series 5: Ogboni Art Objects and Shrines, circa 1969-circa 1982 (Binder 4; 92 slides)

Series 6: Art Objects Depicting Ogun, circa 1969-circa 1983 (Binder 4; 56 slides)

Series 7: Olojufoforo Art and Festivities, circa 1968-circa 1975 (Binder 4; 21 slides)

Series 8: Yoruba People, Architecture, and Art, circa 1969-circa 1985 (Binder 4; 260 slides)

Series 9: Carving, Art Objects and Artists, and Scenes of Daily Life, circa 1973-circa 1988 (Binder 4; 201 slides)

Series 10: Yoruba Art, circa 1971-circa 1983 (Binder 5; 49 slides)

Series 11: Yoruba Textiles, circa 1973-circa 1983 (Binder 5; 84 slides)

Series 12: Yoruba, Miscellaneous, circa 1967-circa 1989 (Binder 5; 251 slides)

Series 13: African Art, Textiles People, and Dwellings, circa 1963-circa 1983 (Binder 6; 58 slides)

Series 14: Ibo Mbari and Igbo Peoples and Artwork, circa 1967-circa 1985 (Binder 6; 212 slides)

Series 15: Art and Ceremonies, circa 1967-circa 1991 (Binder 6; 493 slides)

Series 16: Body Arts, Nuba People (Sudan) and Fulani and Bororo People (Niger), circa 1973-circa 1979 (Binder 7; 64 slides)

Series 17: People, Scenic Views and Animals of Kenya, Sudan, Angola, and Ghana, circa 1972-circa 1985 (Binder 7; 168 slides)

Series 18: Peoples and Arts of Ghana, Mali, and the Ivory Coast, circa 1966-circa 1992 (Binder 7; 406 slides)

Series 19: Published Maps and Photos, circa 1968-circa 1985 (Binder 8; 70 slides)

Series 20: Nigerian Masks and Art Objects, circa 1967-circa 1978 (Binder 8; 396 slides)

Series 21: Yoruba Festivals, People, and Art in Nigeria, circa 1967-circa 1988 (Binders 8-9; 128 slides)

Series 22: Yoruba Photography and Textiles, circa 1975-circa 1983 (Binder 9; 54 slides)

Series 23: Ife-Olu, Ilishan, circa 1980-circa 1988 (Binder 9; 87 slides)

Series 24: Yoruba Festivals, People, Hairstyles, Ibeji Objects, Eshu Figures, and Oya and Orishala Priests, Priestesses, and Shrines, circa 1966-circa 1988 (Binder 9; 168 slides)

Series 25: Shango, circa 1970-circa 1983 (Binder 10, 162 slides)

Series 26: Ara Festival, 1975 (Binder 10; 174 slides)

Series 27: Ceremonies and Festivals, Portraits, Art and Ceremonial Objects, Domestic and Market Scenes, circa 1969-circa 2005 (Binders 10-11; 759 slides)

Series 28: Yoruba Art Objects, and Domestic, Work, and Festival Scenes, circa 1971-circa 1983 (Binder 11; 104 slides)

Series 29: Manuscript and Printed Materials, 1973-circa 2005 (Binder 12)
Biographical/Historical note:
Artist, anthropologist, and art historian Dr. Marilyn Hammersley Houlberg was born in Chicago, Illinois, in 1939. Houlberg received an Associate of Arts degree from Wright Junior College (1959) and a BFA from the University of Chicago (1963). After graduating, she traveled to North Africa and explored Morocco, Algeria, Tunisia, Libya, and Egypt. In 1964, Houlberg researched Haitian art, religion, and indigenous photography in Haiti and in 1965 was awarded a scholarship for graduate study from the University of Chicago. There she completed her MAT in Art History in 1967. Following graduation, Houlberg worked at the Nigerian Museum in Lagos, where she documented Yoruba sculpture, masquerades, religion, body art, and indigenous photography.

She began her teaching career at the University of Chicago as a lecturer on African art and African civilization, working there from 1971 to 1973. At the University of London, Houlberg earned a Masters in Anthropology, producing the thesis Yoruba Twin Sculpture and Ritual (1973). She also extensively photographed her travels abroad in Yorubaland. Between 1974 and 1990, Houlberg taught at the University of Chicago, Columbia College, Kalamazoo College, and Northwestern University. From 1974 to 2008 she continued teaching at The School of the Art Institute of Chicago, lecturing on Yoruba art and ritual in West Africa and the New World, and the art and ritual of Vodou in Haiti.

Houlberg has lectured worldwide at numerous museums and symposiums since 1972, including in Lagos, Nigeria; Jacmel, Haiti; Toronto, Canada; Salvador, Bahia, Brazil; and Cologne, Germany. Her essays have been published in several issues of African Arts. Some of Houlberg's significant publications include Arts of the Water Spirits of Haitian Vodou, in Sacred Waters: Arts for Mami Wata and Other Divinities in Africa and the Diaspora (2008) and Water Spirits of Haitian Vodou: Lasiren, Queen of Mermaids, in Mami-Wata: Arts for Water Spirits in Africa and the African-Atlantic World (2008). The exhibition Mami-Wata at the Smithsonian National Museum of African Art (2009) featured her photographs.
Provenance:
Marilyn Houlberg, 733 West 18th St., Chicago, IL 60616, Donation, 20050320, 2005-0002
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Occupation:
Weavers  Search this
Artists  Search this
Topic:
Shrines  Search this
Masks  Search this
Domestic scenes  Search this
Egúngún (Cult)  Search this
Ethnology -- Nigeria  Search this
Gelede (Yoruba rite)  Search this
Hairstyles -- Africa  Search this
Rites and ceremonies -- Africa  Search this
Clothing and dress -- Africa  Search this
Marketplaces  Search this
Masquerades  Search this
Ere ibeji  Search this
Works of art in situ  Search this
Art, African  Search this
Vernacular architecture  Search this
Festivals  Search this
Genre/Form:
Color slides
Photographic prints
Photographs
Citation:
Marilyn Houlberg Nigeria Collection, EEPA 2005-002, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.2005-002
See more items in:
Marilyn Houlberg Nigeria collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-2005-002

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