Bust of a Woman

1851

Charles Henri Joseph Cordier
French, 1827-1905
Cast by: Eck et Durand Fondeur
French, 19th century

Status: On View, Gallery 223
Department: Painting and Sculpture of Europe

Artist: Charles Henri Joseph Cordier
Title: Bust of a Woman
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1851
Medium: Bronze
Inscriptions: Inscribed and dated: 1851 / CCORDIER
Credit Line: Ada Turnbull Hertle Endowment
Reference Number: 1963.840
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/18754/manifest.json

“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. 2.
Paris, Musée d’Orsay, Charles Cordier, 1827-1905: l’autre et l’ailleurs (2004), pp. 19, 205, no. 475.
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), p. 192.
Hermann Pollig, et al, Exotische Welten, Europäsische Phantasien (Stuttgart, 1987), pp. 357, 491, no. 3.62.
Antoinette Le Normand-Romain, et al, La Sculpture ethnographique, de la Vénus hottentote à la Tehura de Gauguin (Paris, 1994), p. 55, no. 33.
Elyse Nelson and Wendy S. Walters, eds., Fictions of Emancipation: Carpeaux’s Why Born Enslaved! Reconsidered, exh. cat. (New Haven and London: Yale University Press, 2022), 50, 53, pl. 30, 67-9, 94.

New York, The Metropolitan Museum of Art, Fictions of Emancipation: Carpeaux’s Why Born Enslaved! Reconsidered, Mar. 7, 2022-Mar. 5, 2023, pl. 30.

Cast in Paris, 1851 and believed to be the original pair cast for the artist [see letter from Gerald Kerin in curatorial object file]. Sold directly by the artist to an English (Devon) private collector, 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 same collector 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.

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