Bust of Saïd Abdullah of the Darfour People

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. 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. 29, 67-9, 94.