This collection is composed of fifty-one (51) drawings by Herbert Ward, made when he was a member of the Emin Pasha Relief Expedition. Most of the drawings depict men and women of the upper Congo River, but several others depict tools and implements.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
The Emin Pasha Relief Expedition (1886-1889) was a British expedition through the interior of Africa led by Henry Morton Stanley. The professed goal of the expedition was to provide aid to Emin Pasha, the governor of Equatoria, which was threatened by Mahdist forces of Muhammad Ahmad bin Abd Allah.
Herbert Ward (1863-1919) moved to the Democratic Republic of the Congo (then called Zaire) in 1884. He joined the Emin Pasha Relief Expedition (1886-1889) as an aide to Stanley. After the expedition, Ward returned to Europe, where he lectured and wrote about his experiences in the Congo. In 1893, he began formal art training, including the study of sculpture, and became a Fellow of the Royal Geographic Society. He spent most of his later life crafting bronzes of Africans and African life; his sculptures and his collection of African artifacts were exhibited by the United States National Museum in 1922.
The drawings were arranged in 6 montages by the Ward/Barclay family. The drawings were removed from their original mats and placed in individual conservation mats. Photographs of the drawings in the original mats are available.
Ward's collection of bronzes and artifacts held in the Department of Anthropology collections in accession 067312.
The National Anthropological Archives holds the Harry C. Ellis photographs of Herbert Ward's studio in Paris (Photo Lot 75-52). Additional Ellis photographs of Ward's studio can be found in the National Anthropological Archives in Photo Lot 4 (under H.C. Ellis).
A pamphlet on the Herbert Ward African Collection can be found in the National Anthropological Archives reference files.
The Royal Geographical Society holds papers relating to Herbert Ward.
The collection is open for research.
Access to the collection requires an appointment.
Works of art
MS 1999-23 Herbert Ward drawings from the Emin Pasha Relief Expedition, National Anthropological Archives, Smithsonian Institution.
This collection, which dates from circa 1961-2006, contains audiorecordings from the UNESCO Collection of Traditional Music of the World, as well as related business records. Includes recordings of tradition and sacred music from Benin, Cameroon, Central African Republic, Côte d'Ivoire, Ethiopia, Madagascar, Malawi, Niger, Sudan, Argentina, Bolivia, Brazil, Chile, Cuba, Peru, Afghanistan, Australia, Cambodia, China, Korea, the Solomon Islands, India, Bali, Java, Japan, Laos, Mongolia, Uzbekistan, Pakistan, Thailand, Vanuatu, Vietnam, Algeria, Bahrain, Egypt, Iraq, Morocco, Oman, Syria, and Turkey.
The UNESCO Collection of Traditional Music of the World included more than a hundred pioneering audio recordings of the world's traditional music published from 1961 to 2003 on a number of different recording labels. The series was launched in 1961 in collaboration with ethnomusicologist Alain Daniélou (1907-1994) and the International Music Council (created by UNESCO in 1949). The recordings in the Collection are mostly field recordings made in situ, in their original context. Each recording is accompanied by scholarly annotations and photographs. Together, these discs are a reflection of the immense variety of music making and of the position music holds within cultures around the globe.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.