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Visual Materials

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Overview
Creator Images
Manuscripts
Creative Works

Overview

This section collects visual materials relevant to One More Voice and so complements the items found on the pages for critically-edited archival texts, book-length published works, and motions pictures. The section includes images (photographs and illustrations) of the creators featured on the site, a selection of relevant manuscripts, and a small set of creative works (paintings, photographs, other material objects), including works by contemporaneous non-European artists. Creator images are arranged alphabetically by subject, while manuscripts and creatives works are organized by creator. For each item, the page provides a thumbnail image that links to the full documentary record for the given item and to a larger-resolution, uncropped version of the item image.

Click on thumbnails for item details and uncropped images

Creator Images

Half-length portrait of Edward Wilmot Blyden — Edward Wilmot Blyden (between 1851 and 1860)

Portrait of Edward Wilmot Blyden. — Edward Wilmot Blyden (1894)

Edward Wilmot Blyden (late nineteenth or early twentieth century)

Head and shoulders portrait of Edward Wilmot Blyden, looking to this left. — Edward Wilmot Blyden (1910)

Head and shoulder portrait of Frederick Douglass in a gold frame. — Frederick Douglass (c.1847-c.1852)

Edith Maude Eaton, facing forward. — Sui Sin Far (aka Edith Maude Eaton) (late nineteenth/early twentieth century)

E. Pauline Johnson (late nineteenth century)

E. Pauline Johnson (early twentieth century)

Head and shoulders portrait of E. Pauline Johnson, facing to her left. — E. Pauline Johnson (early twentieth century)

Head and shoulders portrait of E. Pauline Johnson, facing to her left and upward. — E. Pauline Johnson (early twentieth century)

E. Pauline Johnson (early twentieth century)

Head and shoulders portrait of E. Pauline Johnson, facing to her left, with hat and fur coat. — E. Pauline Johnson (1904)

Apolo Kagwa and his son, both seated at a table; Kagwa holds a pen above a notebook. — Apolo Kagwa, Katikiro of Uganda, and His Son (early twentieth century)

Semane Khama seated and surrounded by children. — Semane Khama and Schoolchildren (early twentieth century)

Half-body portrait of Semane Khama, facing to her right. — Semane Khama (early twentieth century)

Semane Khama at right, seated, with two children at left, one of whom is standing, the other seated. — Semane Khama and Children (1911)

Tshekedi, Seretse, and Semane Khama (early twentieth century)

Tshekedi and Semane Khama (early twentieth century)

Head and shoulders portrait of Elizabeth Lilith M'belle (“Mrs. S.T. Plaatje”). — Elizabeth Lilith M’belle (“Mrs. S.T. Plaatje”) (early twentieth century)

Yoshio Markino (1912)

Head and shoulders portrait of Claude McKay. — Claude McKay (c.1912-c.1920)

Claude McKay (1923)

Claude McKay and Baroness Von Freytag-Loringhoven — Claude McKay and Baroness Von Freytag-Loringhoven (before 1928)

Emperor Menelik II on the throne in coronation garb. — Menelik II (late nineteenth/early twentieth century)

Moshoeshoe I in formal attire. — Moshoeshoe I with His Ministers (late nineteenth century)

Moshoeshoe I dressed in formal attire including a top hat. — Moshoeshoe I (late nineteenth century)

Ham Mukasa and Apolo Kagwa (early twentieth century)

Ham Mukasa’s father, Ham Mukasa with a child, and Ham Mukasa’s wife with a child, all seated. — Ham Mukasa, with Father, Wife, and Children (early twentieth century)

Dhan Gopal Mukerji (early twentieth century)

Sarojini Naidu (early twentieth century)

Solomon T. Plaatje (early twentieth century)

Head and shoulders portrait of Ranavalona I in regal attire, facing to her left. — Ranavalona I (nineteenth century?)

Ranavalona I (1905)

Henry Morton Stanley and Dorothy Stanley, seated, with Saleh bin Osman standing behind them. — Henry Morton Stanley, Dorothy Stanley, and Saleh bin Osman (1890)

Head and shoulders portrait of Pandita Ramabai Sarasvati, facing to right, against gray background. — Pandita Ramabai Sarasvati (late nineteenth century)

Head and shoulders portrait of Pandita Ramabai Sarasvati, facing to her right, with head covered. — Pandita Ramabai Sarasvati (late nineteenth century)

Head and shoulders portrait of Pandita Ramabai Sarasvati, facing to her right. — Pandita Ramabai Sarasvati (1898)

Pandita Ramabai Sarasvati, seated, with Monramabai standing, looking over Sarasvati's shoulder. — Pandita Ramabai Sarasvati and Manoramabai (early twentieth century)

Head and shoulders portrait of Sechele I — Sechele I (second half of nineteenth century)

Head and shoulders portrait of Sechele I. — Sechele I (second half of nineteenth century)

Half-body portrait of Sechele and MmaKgari seated side by side. — Sechele and MmaKgari (late nineteenth century)

Tausé Soga standing with man and child at her sides and with older woman seated with child on lap. — Tausé Soga and Her Family (1894)

Tiyo Soga (late nineteenth century)

Cornelia Sorabji (late nineteenth or early twentieth century)

James Chuma and Abdulla Susi, in traditional clothing, with weapons, against a backdrop of rocks. — James Chuma and Abdullah Susi (1874?)

Abdullah Susi and James Chuma against a brick wall. — Abdulla Susi, James Chuma, and others (1874)

James Chuma and Abdullah Susi beside notebooks, maps, other personal effects of David Livingstone. — James Chuma and Abdullah Susi with David Livingstone's effects (1874)

Abdullah Susi and James Chuma in front of some gothic architecture. — Abdulla Susi, James Chuma, and others (1874)

Abdullah Susi (Mislabeled Jacob Wainwright) (c.1874)

Abdullah Susi in traditional East African clothing, standing with body turned right and facing forward. — Abdullah Susi (24 Aug. 1886)

Abdullah Susi, Henry Charles Goodyear, [?] Gill, and Feragi posed near decorated doorway. — Abdullah Susi and others (24 Aug. 1886)

Abdullah Susi, seated and forward, between a younger boy (left) and an adult male (right). — Abdullah Susi and others (late nineteenth century)

Rabindranath Tagore in three-quarter-length portrait, looking right. — Rabindranath Tagore (c.1915-c.1920)

Half-body portrait of Rabindarath Tagore. — Rabindarath Tagore (May 1916)

Rabindranath Tagore in three-quarter-length portrait, facing slightly left. — Rabindranath Tagor (May 1916)

Full-body portrait of Rabindarath Tagore. — Rabindarath Tagore (21 November 1916)

Rabindranath Tagore in full-length portrait. — Rabindranath Tagore (c.1916)

Rabindranath Tagore in three-quarter-length portrait. — Rabindranath Tagore (c.1917)

Bwana N'zigué and Tippu Tip facing forward. — N'zigué and Tippu Tip (1889)

Tippu Tip facing forward. — Tippu Tip (c.1890)

Full-body portrait of Tippu Tip, seated, facing forward, and holding a long, sheathed sword. — Tippu Tip (1890)

Tippu Tip and Eugene Wolf (1894)

Tippu Tip (late nineteenth/early twentieth century)

Jan Tzatzoe (Dyani Tshatshu), facing forward. — Jan Tzatzoe (Dyani Tshatshu) (late nineteenth century)

Portrait of Swami Vivekanada, standing, his body turned to the right, holding a walking stick. — Swami Vivekanada (c.1893)

Jacob Wainwright seated on board the ship “Malwa” and leaning against David Livingstone’s coffin. — Jacob Wainwright with David Livingstone’s Coffin and Travelling Trunks (1874)

Jacob Wainwright with head bowed in front of coffin which is partly covered by a British flag. — Jacob Wainwright with David Livingstone’s Coffin (1874)

Jacob Wainwright (c.1874)

Jacob Wainwright (c.1874)

Onoto Watanna (late nineteenth century)

Three-quarters portrait of Onoto Watanna. — Onoto Watanna (1903)

Onoto Watanna (early twentieth century)

Half-body portrait of Onoto Watanna. — Onoto Watanna (c.1907-c.1910)

Head and shoulders portrait of Matthew Wellington, facing forward. — Matthew Wellington (1874 or later)

Portrait of Matthew Wellington, turned to his right, but facing forward. — Matthew Wellington (1874 or later)

Matthew Wellington (1874 or later)

Manuscripts

Facsimile of E. Pauline Johnson's manuscript of “And He Said ‘Fight On’” — E. Pauline Johnson, “And He Said ‘Fight On’” (early twentieth century)

Page from David Livingstone diary showing the words “Bon Alé” and “Bon alēi.” — Page from David Livingstone's Field Diary III with Addition by Bon Ale/Bin Aleī/Bon Ārie (19-20 May 1866)

Page from a David Livingstone notebook with a Swahili vocabulary list and Arabic numbers. — Page from David Livingstone’s Notebook with Swahili Vocabulary List and Arabic Numbers (c.March 1866 to March 1870)

Page inscribed by Solomon T. Plaatje to Professor Kelly Miller with reference to Howard University. — Page Inscribed by Solomon T. Plaatje to Kelly Miller (16 November 1921)

Manuscript in Arabic. — Sayed Salehe, Letter to Charles Smythies (c.1885-87)

Notebook open to two-page vertical spread, with Jacob Wainwright's handwriting covering top half. — Jacob Wainwright, Addition to David Livingstone's Field Diary XVII (28 April 1873)

Signatures of Walter Saltley Price and Jacob Wainwright, dated 1875[?] and 1874. — W. Salter Price and Jacob Wainwright, Signatures (1875[?], 1874).

Page inscribed by Onoto Watanna showing her signature and dated June 17, 1899. — Page Inscribed by Onoto Watanna to Lea W. Lindolph (17 June 1899)

Creative Works

Large plaited palm leaf travelling mat, plain and undyed except for black, red-ochre, and plain decorative boarder strip running round the edges of the mat. — Anon. Hausa Artist, Country Mat (before 1860), coll. by Selim Aga

Large plaited palm leaf mat in plain and ochre-red, decorated with six broad, zig-zag bands in ochre-red colour running horizontally. — Anon. Hausa Artist, Country Mat (before 1860), coll. by Selim Aga

Brown-gray hat with beige rim made of vegetal fibre and leather. — Anon. Hausa Artist, Straw Hat (before 1860), coll. by Selim Aga

Bowl made from half a gourd, decorated with engraved linear motifs and geometric designs on the exterior that appear originally to have been whitened with clay. — Anon. Nupe Artist, Circular Calabash (before 1860), coll. by Selim Aga

Gray robe with multiple embroidery designs at its center. — Anon. Nupe Artist (before 1860), Country Robe, coll. by Selim Aga

A work made of wood and pigment. — Anon. Yoruba Artist, Mask for Egungun (Ere Egungun) (late nineteenth century)

One purple individual and one green individual in front of three church buildings. — Djilatendo (Tshyela Ntendu), “L'Église” (c.1930)

Green individual with hat and umbrella beside four animals and a snake. — Djilatendo (Tshyela Ntendu), “Les Animaux” (c.1930)

Jonathan Adagogo Green, Interior with Seated Man (c.1892)

Stained paper with a diagonol purple stamp that says, “J.A. Green, Artist Photographer, Bonny Opobo, &c, &c — Jonathan Adagogo Green, Professional Wetstamp (c.1895)

African market full of people with many holding umbrellas. — Jonathan Adagogo Green, Market Scene (c.1900)

Railway bridge with train tracks leading to it. — Jonathan Adagogo Green, Railway Bridge, Imo River, near Port Harcourt (c.1900)

African hut among a set of trees. — Abdullah Susi and James Chuma's Model of David Livingstone's Hut (late nineteenth or twentieth century)

Cite page (MLA): Wisnicki, Adrian S. “Visual Materials.” One More Voice (an imprint of Livingstone Online), new dawn edition, 2021, https://onemorevoice.org/visual_materials.html.

Terms of use: Creative Commons Attribution 4.0 International

Header image caption: Anonymous, “Semane Khama, Tshekedi Khama, and Councillors at Tiger Kloof” (Photograph, 1933), CWM/LMS/Home/Missionary Portraits/Box 12/File 34/1, University of London. School of Oriental and African Studies, London. Image from the Council for World Mission Archive, SOAS Library, University of London. Used by permission for private study, educational or research purposes only.

Header image commentary: Semane Khama is seated in the foreground of this image; Tshekedi Khama stands second from the left in the back row. Although One More Voice nominally focuses on the “long” Victorian era, i.e., 1837 to 1914, the project is by no means bound by these dates or even by this way of defining the historical period in question – an interpretive approach that echoes recent critical work focused on “undisciplining” the field of Victorian Studies. As a result, the project's temporal remit can accommodate a 1934 letter from Semane Khama to a representative of the London Missionary Society, more so as the letter illuminates geopolitical relationships first established between inhabitants of Bechuanaland (now Botswana) and Britain in the nineteenth century.