Bust of Saïd Abdullah of the Darfour People

1. Cast in Paris, 1848 and believed to be the original pair cast for the artist [see letter from Gerald Kerin in curatorial object file]; possibly sold directly by the artist to an English private collector in Devon, 1851 [according to letter from William Redford, in curatorial file; Cordier brought ethnographic busts to the 1862 London Exposition, see Exotische Welten, p. 357]; purchased from this collection by William Redford, the agent for Gerald Kerin, Ltd. [see same letter in curatorial file]; sold by Gerald Kerin, Ltd. to the Art Institute, 1963.

Recorded by Art Institute of Chicago.

• New York, The Metropolitan Museum of Art, Fictions of Emancipation: Carpeaux's Why Born Enslaved! Reconsidered, Mar. 7, 2022-Mar. 5, 2023, pl. 29.

• "R. & M. Andrade," Apollo 121, 423 (1960), p. x.
• Art Institute of Chicago, Annual Report, 1963-64, p. 19.
• John Maxon, Art Institute of Chicago Quarterly 58, 1 (1964).
• S. Réveilluad Kriz, L'Odyssée d'un peintre: Drouet Réveilluad (Paris: Fischbacher, 1973), p. 17.
• Institut für Auslandsbeziehungen, Württembergischer Kunstverein, Exotische Welten, Europäsische phantasien (1987), pp. 357, 491, no. 3.62.
• New York, Charles Janoray, LLC, A Golden Age of French Sculpture, 1850-1900 (2003), p. 40, fig. 1.
• Paris, Musée d'Orsay, Charles Cordier, 1827-1905: l'autre et l'ailleurs (2004), pp. 15, 18, 205, no. 474.
• For comparison, see:
• Stanislas Lami, Dictionnaire des sculpteurs de l’école Francaise au dix-neuviéme siècle 1, reprint (Liechtenstein, 1970), p. 417.
• Hugh Honour, The Image of the Black in Western Art IV, 2 (Cambridge, MA, 1976-1989), pp. 100-02, fig. 72.
• Jeannine Durand-Revillon, "Un promoteur de la sculpture polychrome sous le Second Empire, Charles-Henri-Joseph Cordier (1827-1905)," Soc. Hist. Art Francais (1982), pp. 182, 192, fig. 1.
• Hermann Pollig, et al, Exotische Welten, Europäsische Phantasien (Stuttgart, 1987), pp. 357, 374, 491, no. 3.61.

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