Sophie Berrebi | University of Amsterdam (original) (raw)

Papers by Sophie Berrebi

A reflection on the new work of the artist Sven Augustijnen consisting in an installation featuri... more A reflection on the new work of the artist Sven Augustijnen consisting in an installation featuring back issues of the French magazine Paris Match

Sophie Berrebi discusses in her lecture the use of documents in the visual arts in the first deca... more Sophie Berrebi discusses in her lecture the use of documents in the visual arts in the first decade of the 21rst century. She focusses on artists, who shed light on the potentials, mechanisms and traditions of analogue forms of documentary practices in contrast to the contemporary emphasis on the usage of digital media. In doing so they question the status of art works as well as of documents and the relationship of museums and archives. We present here the presentation manuscript of the lecture and add the notes taken by two members of the research training group. This most common kind of documentation of lectures in most scientific disciplines points out the processes of selection und accentuation in listening and recording.

Paris-Amsterdam Underground, 2013

The hands of Jeanne-Marie, the hands of Marianne, the hands of women revolutionaries, and the han... more The hands of Jeanne-Marie, the hands of Marianne, the hands of women revolutionaries, and the hands of knitters: we unite them deliberately here, these hands of the simple working-class people who rebelled during the French Revolution and those described by the famous poet almost a century later in one of the most beautiful poems about French women revolutionaries. "Dark hands, pale hands"-but are these hands so different, the hands of the woman revolutionary of 1871 and those of 1793, these hands that "sing the Marseillaise" and those of the idle noblewoman? Rather than shading their pale skin from the sun under the shadows of bronze rifles, Marianne's hands would cry to the president of the Convention: "Beneath these delicate hands have glided the barrels of those bronze entities-those mouths of fire that could make even a king hear thunder in his ear-the augur of change and all destinies!" 1 And the bloody Revolution, which at long last succeeded in solidifying the political organization of French society: wasn't its memory illuminated primarily by the "sun's love-provoking light?"-to the displeasure of all the tortured spirits that frequent hate-gatherings and would much rather define it according to the number of decapitated heads and drops of blood spilled than try to understand what values the Revolution brought to light ? "Love for oneself [is] love for others," wrote one historian on the revolutionary mentality. 2 Marianne's hands were tender upon the forehead of a child, a spouse, or a lover-or raised before her face to fend off a violent husband's blows.

October, 2015

Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that estab... more Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that established him as one of the most important art historians and philosophers working in France since the 1960s, Hubert Damisch (1928–) edited the four volumes of the writings of artist Jean Dubuffet (1901–1985) and dedicated no less than eighteen articles to his work from 1961 to 2001. Dubuffet is, in other words, the contemporary artist with whom Damisch had the most extensive and prolonged contact during the years 1961–1985. Until now these writings have been overlooked, even though they are contemporary to Damisch's writing on other subjects and demonstrate the major role played by Dubuffet in his thinking. This essay introduces the correspondence between Dubuffet and Damisch, shedding light on Damisch's writings on Dubuffet that are also published in this issue of October. I examine the context of their first meeting in 1961 and seek to understand the dynamics of the relationship ...

Afterall: A Journal of Art, Context and Enquiry, 2011

Sophie Berrebi elucidates the history of visual culture and typology of skills found in Jean-Luc ... more Sophie Berrebi elucidates the history of visual culture and typology of skills found in Jean-Luc Moulène’s photography and objects.

Journal of Visual Culture, 2008

Art History, 2006

I am back from New York where I spent a week. Contrary to my habits (I never set foot in museums ... more I am back from New York where I spent a week. Contrary to my habits (I never set foot in museums and galleries. I have little time and space to grant attention to works by other artists, being too completely absorbed by my own activity) I insisted upon visiting the exhibition of your works that is currently on show at the Museum of Modern Art. I have been so amazed that I wanted to write to you to share my emotion. You appear there as a very great creator.

History of Photography, 2006

The format of the catalogue raisonne traditionally exists within the disciplinary boundaries of a... more The format of the catalogue raisonne traditionally exists within the disciplinary boundaries of art history. Its aim is to provide a comprehensive record of an artist's entire production up to the date of publication, including the dimensions, medium, provenance and collection of each given work, as well as the known literature and exhibitions in which the work was included. A catalogue raisonne is therefore primarily a reference book, destined to authenticate and classify a production, rather than an interpretative study. However there are contexts in which the traditional format of the catalogue raisonne may be called into question or manipulated. The mediums of printmaking and photography have forced the format to accommodate the idea of a work existing in multiple versions and, in the case of photography, the notion of the 'vintage' print has helped define and differentiate an authored work from an unprinted negative or later print. Aside from the issue of medium, there are other ways in which the catalogue raisonne slips from reference work to interpretative study. Gerhard Richter's Atlas (1997) is perhaps an extreme example of a book that combines at once the exhaustive quality of the catalogue raisonne with an archive of primary sources for the painter's finished works, turning the reference book into a conceptual project. Jeff Wall: Catalogue Raisonne shares a certain level of conceptual reflection with Richter's Atlas, although this emerges under the guise of a more conservative and conventional project. Beyond the rigorous classification and documentation of the photographs, sculptures and a performance created by Jeff Wall from 1978 to 2004, the book nevertheless questions the objective premise of the catalogue raisonne by operating selections and suggesting possible interpretations of Wall's oeuvre. The cataloguing itself inevitably raises questions as to the nature of the photographic medium, as well as provoking reflection on the relation between photography and painting as envisaged by Jeff Wall. One obvious example of disregard for the conventions of the catalogue raisonne is the absence of any works produced prior to 1978, even though references are made to Wall's artistic activity before this date. Jean-Fran<;:ois Chevrier's essay mentions Wall's photo-conceptual works created in the late 1960s but following a convention set by Wall, his first transparency in light box, Destroyed Room (1978), is presented as his first work. The colour reproductions of all the works (described as 'reference images' without further specification) are accompanied by lengthy captions. The 'Introductory Notes' to this section set out the scope of the publication and specify that the dimensions, technique and titles of the photographic images be to be considered definitive; it is noted that most works are unique but that wherever it applies any 'additional prints' and their owners will be listed. Wall is credited with supervising the printing of all his images and with defining a particular terminology to classify his images. The photographs are hence described as either 'documentary' or 'cinematographic'. 'Documentary' indicates that the photograph has been made without the intervention of the artist other than his choice of location and moment, while 'cinematographic' refers to the staged images, for which Wall hired models and/or constructed particular sets. None of these remarks and categorisations is innocent or objective. The definition of documentary seems aimed at clarifying an ambiguous term, since documentary images may sometimes be staged. The term 'cinematographic' is even stronger, foregrounding an affinity between Wall's photography and film rather than theatre or painting. On the other hand, the stress on the definitive dimensions and the remarks on the printing contrast to the widespread practice in contemporary art where photographs often exist as multiples in various possible formats (often adapted to particular exhibition displays) and frequently printed by a specialist printer rather than the artist. In Wall's case, the emphasis is on a certain hand-made quality of the work as opposed to a more conceptual, dematerialised one. Clearly, for Wall, the photographs exist as unique, stable works in themselves. Even the aluminium light boxes only playa small part in the image; their dimensions are declared 'irrelevant' in the 'Introductory Notes'. It is impossible not to see in these remarks a desire to define, beyond the constitutive ubiquity of photography, a particular type of object. This brings to mind Wall's oftreiterated desire to 'recuperate the great art of the museums'. The relationship between painting and photography in effect plays an important role in this book, which is confirmed by the very choice of the catalogue raisonne and by the subjection of photographs to categorisations usually reserved for painting. The main essay in the book, 'The

Stedelijk Studies Journal

I remember Anne Teresa De Keersmaeker walking casually onto a dark, almost empty stage, save for ... more I remember Anne Teresa De Keersmaeker walking casually onto a dark, almost empty stage, save for an old-fashioned record player. I remember distinctly her gesture of lifting the tone arm and putting it down, the distinct sound of the needle hitting the grooves of the vinyl record, audible even to an audience sitting several meters away. Suddenly, the clear voice of Joan Baez, accompanied by an acoustic guitar, fills the theater. De Keersmaeker kicks off her shoes and begins to dance, like a teenage girl would do in her bedroom, absorbed in the peace songs of the musician and activist, oblivious to us, or so it seems. And yet, I remember (but perhaps this is only a trick of my memory) that she briefly looked up at us when she walked in, registering our presence as one does entering a busy public space. I always remember De Keersmaeker’s 2002 solo piece, Once, as a landmark of performance: the absence of acting, the subtle distinction between her space and our space, the way it made m...

Disclaimer/Complaints regulations If you believe that digital publication of certain material inf... more Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.

Disclaimer/Complaints regulations If you believe that digital publication of certain material inf... more Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: http://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.

This article, written in the form of a letter addressed to the artist Sven Augustijnen, discusses... more This article, written in the form of a letter addressed to the artist Sven Augustijnen, discusses his work developed around military weapons and its global networks of official and unofficial circulation as well as the representation of military conflicts in the pages of French weekly magazine Paris Match in the 1960s and 1970s

Published in Jean Dubuffet. Metamorphoses of Landscape. Fondation Beyeler, 2016. Pp. 107-113. Thi... more Published in Jean Dubuffet. Metamorphoses of Landscape.
Fondation Beyeler, 2016. Pp. 107-113.
This text analyses the role of landscape in the work of Jean Dubuffet.
All picture numbers refer to the catalogue published by the Beyeler Foundation

Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that estab... more Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that established him as one of the most important art historians and philosophers working in France since the 1960s, Hubert Damisch (1928–) edited the four volumes of the writings of artist Jean Dubuffet (1901–1985) and dedicated no less than eighteen articles to his work from 1961 to 2001. Dubuffet is, in other words, the contemporary artist with whom Damisch had the most extensive and prolonged contact during the years 1961–1985. Until now these writings have been overlooked, even though they are contemporary to Damisch's writing on other subjects and demonstrate the major role played by Dubuffet in his thinking. This essay introduces the correspondence between Dubuffet and Damisch, shedding light on Damisch's writings on Dubuffet that are also published in this issue of October. I examine the context of their first meeting in 1961 and seek to understand the dynamics of the relationship between an artist then at a turning point of his career—he was the subject of major retrospective exhibitions in France and the United States and at a crucial point of rupture within his work—and a young philosopher and art historian who had recently moved away from phenomenology to study and write about art. At this critical moment, Dubuffet's oeuvre provided material through which Damisch could investigate art through philosophy and philosophy through art.

This essay was originally published on Still Searching - An Online Discourse on Photography, Fo... more This essay was originally published on Still Searching - An Online Discourse on Photography,
Fotomuseum Winterthur on 1 March 2013.

This is the guidebook and essay of an exhibition curated in 2013 bringing together a collection o... more This is the guidebook and essay of an exhibition curated in 2013 bringing together a collection of art objects from the Congo (early - mid 20th century) with works of contemporary art from Europe

A reflection on the new work of the artist Sven Augustijnen consisting in an installation featuri... more A reflection on the new work of the artist Sven Augustijnen consisting in an installation featuring back issues of the French magazine Paris Match

Sophie Berrebi discusses in her lecture the use of documents in the visual arts in the first deca... more Sophie Berrebi discusses in her lecture the use of documents in the visual arts in the first decade of the 21rst century. She focusses on artists, who shed light on the potentials, mechanisms and traditions of analogue forms of documentary practices in contrast to the contemporary emphasis on the usage of digital media. In doing so they question the status of art works as well as of documents and the relationship of museums and archives. We present here the presentation manuscript of the lecture and add the notes taken by two members of the research training group. This most common kind of documentation of lectures in most scientific disciplines points out the processes of selection und accentuation in listening and recording.

Paris-Amsterdam Underground, 2013

The hands of Jeanne-Marie, the hands of Marianne, the hands of women revolutionaries, and the han... more The hands of Jeanne-Marie, the hands of Marianne, the hands of women revolutionaries, and the hands of knitters: we unite them deliberately here, these hands of the simple working-class people who rebelled during the French Revolution and those described by the famous poet almost a century later in one of the most beautiful poems about French women revolutionaries. "Dark hands, pale hands"-but are these hands so different, the hands of the woman revolutionary of 1871 and those of 1793, these hands that "sing the Marseillaise" and those of the idle noblewoman? Rather than shading their pale skin from the sun under the shadows of bronze rifles, Marianne's hands would cry to the president of the Convention: "Beneath these delicate hands have glided the barrels of those bronze entities-those mouths of fire that could make even a king hear thunder in his ear-the augur of change and all destinies!" 1 And the bloody Revolution, which at long last succeeded in solidifying the political organization of French society: wasn't its memory illuminated primarily by the "sun's love-provoking light?"-to the displeasure of all the tortured spirits that frequent hate-gatherings and would much rather define it according to the number of decapitated heads and drops of blood spilled than try to understand what values the Revolution brought to light ? "Love for oneself [is] love for others," wrote one historian on the revolutionary mentality. 2 Marianne's hands were tender upon the forehead of a child, a spouse, or a lover-or raised before her face to fend off a violent husband's blows.

October, 2015

Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that estab... more Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that established him as one of the most important art historians and philosophers working in France since the 1960s, Hubert Damisch (1928–) edited the four volumes of the writings of artist Jean Dubuffet (1901–1985) and dedicated no less than eighteen articles to his work from 1961 to 2001. Dubuffet is, in other words, the contemporary artist with whom Damisch had the most extensive and prolonged contact during the years 1961–1985. Until now these writings have been overlooked, even though they are contemporary to Damisch's writing on other subjects and demonstrate the major role played by Dubuffet in his thinking. This essay introduces the correspondence between Dubuffet and Damisch, shedding light on Damisch's writings on Dubuffet that are also published in this issue of October. I examine the context of their first meeting in 1961 and seek to understand the dynamics of the relationship ...

Afterall: A Journal of Art, Context and Enquiry, 2011

Sophie Berrebi elucidates the history of visual culture and typology of skills found in Jean-Luc ... more Sophie Berrebi elucidates the history of visual culture and typology of skills found in Jean-Luc Moulène’s photography and objects.

Journal of Visual Culture, 2008

Art History, 2006

I am back from New York where I spent a week. Contrary to my habits (I never set foot in museums ... more I am back from New York where I spent a week. Contrary to my habits (I never set foot in museums and galleries. I have little time and space to grant attention to works by other artists, being too completely absorbed by my own activity) I insisted upon visiting the exhibition of your works that is currently on show at the Museum of Modern Art. I have been so amazed that I wanted to write to you to share my emotion. You appear there as a very great creator.

History of Photography, 2006

The format of the catalogue raisonne traditionally exists within the disciplinary boundaries of a... more The format of the catalogue raisonne traditionally exists within the disciplinary boundaries of art history. Its aim is to provide a comprehensive record of an artist's entire production up to the date of publication, including the dimensions, medium, provenance and collection of each given work, as well as the known literature and exhibitions in which the work was included. A catalogue raisonne is therefore primarily a reference book, destined to authenticate and classify a production, rather than an interpretative study. However there are contexts in which the traditional format of the catalogue raisonne may be called into question or manipulated. The mediums of printmaking and photography have forced the format to accommodate the idea of a work existing in multiple versions and, in the case of photography, the notion of the 'vintage' print has helped define and differentiate an authored work from an unprinted negative or later print. Aside from the issue of medium, there are other ways in which the catalogue raisonne slips from reference work to interpretative study. Gerhard Richter's Atlas (1997) is perhaps an extreme example of a book that combines at once the exhaustive quality of the catalogue raisonne with an archive of primary sources for the painter's finished works, turning the reference book into a conceptual project. Jeff Wall: Catalogue Raisonne shares a certain level of conceptual reflection with Richter's Atlas, although this emerges under the guise of a more conservative and conventional project. Beyond the rigorous classification and documentation of the photographs, sculptures and a performance created by Jeff Wall from 1978 to 2004, the book nevertheless questions the objective premise of the catalogue raisonne by operating selections and suggesting possible interpretations of Wall's oeuvre. The cataloguing itself inevitably raises questions as to the nature of the photographic medium, as well as provoking reflection on the relation between photography and painting as envisaged by Jeff Wall. One obvious example of disregard for the conventions of the catalogue raisonne is the absence of any works produced prior to 1978, even though references are made to Wall's artistic activity before this date. Jean-Fran<;:ois Chevrier's essay mentions Wall's photo-conceptual works created in the late 1960s but following a convention set by Wall, his first transparency in light box, Destroyed Room (1978), is presented as his first work. The colour reproductions of all the works (described as 'reference images' without further specification) are accompanied by lengthy captions. The 'Introductory Notes' to this section set out the scope of the publication and specify that the dimensions, technique and titles of the photographic images be to be considered definitive; it is noted that most works are unique but that wherever it applies any 'additional prints' and their owners will be listed. Wall is credited with supervising the printing of all his images and with defining a particular terminology to classify his images. The photographs are hence described as either 'documentary' or 'cinematographic'. 'Documentary' indicates that the photograph has been made without the intervention of the artist other than his choice of location and moment, while 'cinematographic' refers to the staged images, for which Wall hired models and/or constructed particular sets. None of these remarks and categorisations is innocent or objective. The definition of documentary seems aimed at clarifying an ambiguous term, since documentary images may sometimes be staged. The term 'cinematographic' is even stronger, foregrounding an affinity between Wall's photography and film rather than theatre or painting. On the other hand, the stress on the definitive dimensions and the remarks on the printing contrast to the widespread practice in contemporary art where photographs often exist as multiples in various possible formats (often adapted to particular exhibition displays) and frequently printed by a specialist printer rather than the artist. In Wall's case, the emphasis is on a certain hand-made quality of the work as opposed to a more conceptual, dematerialised one. Clearly, for Wall, the photographs exist as unique, stable works in themselves. Even the aluminium light boxes only playa small part in the image; their dimensions are declared 'irrelevant' in the 'Introductory Notes'. It is impossible not to see in these remarks a desire to define, beyond the constitutive ubiquity of photography, a particular type of object. This brings to mind Wall's oftreiterated desire to 'recuperate the great art of the museums'. The relationship between painting and photography in effect plays an important role in this book, which is confirmed by the very choice of the catalogue raisonne and by the subjection of photographs to categorisations usually reserved for painting. The main essay in the book, 'The

Stedelijk Studies Journal

I remember Anne Teresa De Keersmaeker walking casually onto a dark, almost empty stage, save for ... more I remember Anne Teresa De Keersmaeker walking casually onto a dark, almost empty stage, save for an old-fashioned record player. I remember distinctly her gesture of lifting the tone arm and putting it down, the distinct sound of the needle hitting the grooves of the vinyl record, audible even to an audience sitting several meters away. Suddenly, the clear voice of Joan Baez, accompanied by an acoustic guitar, fills the theater. De Keersmaeker kicks off her shoes and begins to dance, like a teenage girl would do in her bedroom, absorbed in the peace songs of the musician and activist, oblivious to us, or so it seems. And yet, I remember (but perhaps this is only a trick of my memory) that she briefly looked up at us when she walked in, registering our presence as one does entering a busy public space. I always remember De Keersmaeker’s 2002 solo piece, Once, as a landmark of performance: the absence of acting, the subtle distinction between her space and our space, the way it made m...

Disclaimer/Complaints regulations If you believe that digital publication of certain material inf... more Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.

Disclaimer/Complaints regulations If you believe that digital publication of certain material inf... more Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: http://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.

This article, written in the form of a letter addressed to the artist Sven Augustijnen, discusses... more This article, written in the form of a letter addressed to the artist Sven Augustijnen, discusses his work developed around military weapons and its global networks of official and unofficial circulation as well as the representation of military conflicts in the pages of French weekly magazine Paris Match in the 1960s and 1970s

Published in Jean Dubuffet. Metamorphoses of Landscape. Fondation Beyeler, 2016. Pp. 107-113. Thi... more Published in Jean Dubuffet. Metamorphoses of Landscape.
Fondation Beyeler, 2016. Pp. 107-113.
This text analyses the role of landscape in the work of Jean Dubuffet.
All picture numbers refer to the catalogue published by the Beyeler Foundation

Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that estab... more Alongside his writings on the cloud, architecture, the Italian Renaissance, and cinema that established him as one of the most important art historians and philosophers working in France since the 1960s, Hubert Damisch (1928–) edited the four volumes of the writings of artist Jean Dubuffet (1901–1985) and dedicated no less than eighteen articles to his work from 1961 to 2001. Dubuffet is, in other words, the contemporary artist with whom Damisch had the most extensive and prolonged contact during the years 1961–1985. Until now these writings have been overlooked, even though they are contemporary to Damisch's writing on other subjects and demonstrate the major role played by Dubuffet in his thinking. This essay introduces the correspondence between Dubuffet and Damisch, shedding light on Damisch's writings on Dubuffet that are also published in this issue of October. I examine the context of their first meeting in 1961 and seek to understand the dynamics of the relationship between an artist then at a turning point of his career—he was the subject of major retrospective exhibitions in France and the United States and at a crucial point of rupture within his work—and a young philosopher and art historian who had recently moved away from phenomenology to study and write about art. At this critical moment, Dubuffet's oeuvre provided material through which Damisch could investigate art through philosophy and philosophy through art.

This essay was originally published on Still Searching - An Online Discourse on Photography, Fo... more This essay was originally published on Still Searching - An Online Discourse on Photography,
Fotomuseum Winterthur on 1 March 2013.

This is the guidebook and essay of an exhibition curated in 2013 bringing together a collection o... more This is the guidebook and essay of an exhibition curated in 2013 bringing together a collection of art objects from the Congo (early - mid 20th century) with works of contemporary art from Europe

Hauser & Wirth Publishers, Zurich, 2018, 2018

Hauser & Wirth Publishers, Zürich, 2018 ‘Dubuffet and the City: People, Place and Urban Space’ ... more Hauser & Wirth Publishers, Zürich, 2018

‘Dubuffet and the City: People, Place and Urban Space’ is the first in-depth study to address the work of Jean Dubuffet (1901 – 1984) in relation to the theme of the city. The book examines how the city plays a role in the formation and unfolding of Dubuffet’s practice and imagination as a material, a source, and a vehicle for ideas. It analyzes works in which the artist depicts city dwellers, sites and urban spaces, and discusses his architectural projects from the 1960s and 1970s against the background of heated debates in the field of urbanism. The book accompanies and extends the exhibition ‘Jean Dubuffet and the City’ at Hauser & Wirth Zürich (10 June – 1 September 2018). Along with full color reproductions of art works the book reproduces little-known archival material from the archives of the Fondation Dubuffet. It also includes several texts by Dubuffet that are translated here in English for the first time.

Research Center for MAterial Culture, Open Space, 2018

this six-part article investigates the meanings of sailor shirts found on different individuals ... more this six-part article investigates the meanings of sailor shirts found on different individuals in several photographs taken in 19th century Angola and kept in the collections of the National Museum voor Wereldculturen in the Netherlands.
published by the Research Center for Material Culture, Leiden