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Visual duplication: specimens, works of art and photographs at the Musée d'ethnographie du Trocadéro (1928–1935)

Published online by Cambridge University Press:  08 August 2022

Anaïs Mauuarin
Anaïs Mauuarin*
Affiliation:
Department of Art History, Musicology and Theatre Studies, Ghent University, Belgium, and Royal Museums of Art and History, Brussels, Belgium
*
*Corresponding author: Anaïs Mauuarin, Email: anais.mauuarin@ugent.be
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Abstract

The article considers how the use of duplicates and the practice of photography interacted in museums of ethnography, contributing to the ambivalent framing of ethnographic objects as items that can be both scientific specimens and works of art. It focuses on the Musée d'ethnographie du Trocadéro in Paris and on the key period of its reorganization between 1928 and 1935, which was central to the institutionalization of French ethnology. By examining the place of duplicates in this museum, as well as the major role attributed to photographs of objects and their materiality, the paper shows that these others of the ethnographic artefacts, often considered separately from their originals, still participated in the same project: the development of the museum and its growing cultural influence. While the duplicates positioned the museum in the various networks of the scientific community, the photographs appealed to the avant-garde, amateurs, African and Oceanian art dealers and the general public.

Type
Research Article
Information
The British Journal for the History of Science , Volume 55 , Special Issue 3: The Issue of Duplicates , September 2022 , pp. 365 - 388
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Copyright
Copyright © The Author(s), 2022. Published by Cambridge University Press on behalf of British Society for the History of Science

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References

1 According to the expression used on the Musée du quai Branly–Jacques Chirac's website, at www.quaibranly.fr (accessed 11 March 2021).

2 Africa Museum, at www.africamuseum.be/en/research/collections_libraries/human_sciences/collections/database (accessed 15 April 2021).

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5 An important case study of ethnographic casts in international museum exchanges is Penaloza-Patzak, Brooke, ‘Capital collections, complex systems: Vienna, Berlin, and ethnographic specimen exchanges in transnational fin de siècle scientific networks,’ in Ash, Mitchell (ed.), Science in the Metropolis: Vienna in Transnational Context, 1848–1918, Abingdon: Routledge, 2020, pp. 152–71CrossRefGoogle Scholar.

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8 The technique has been used at the MET since its inauguration in 1878, but the in-house practice slowed down in the following years, and it was not until the late 1930s that several casts again entered the MET's collections. This issue has not been studied in depth for the MET. See nevertheless Sandra Ligner, ‘Les répliques au musée: Du document à l'oeuvre. Étude de la collection de moulages en plâtre du Musée du Quai Branly en vue de l'installation Plâtre ou pas?’, master's thesis, Institut national du patrimoine (France), 2013.

9 Mauuarin, Anaïs and Caroff, Carine Peltier, ‘Les photographies de l'ethnologie: objets exposés, objets projetés’, Ateliers d'anthropologie (2022) 51Google Scholar, at https://doi.org/10.4000/ateliers.16232 (accessed 1 April 2022).

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18 Debaene, Vincent, ‘“Etudier des états de conscience”: La réinvention du terrain par l'ethnologie, 1925–1939’, L'Homme (2006) 179, pp. 7–62Google Scholar.

19 Christine Laurière, Paul Rivet: Le savant et le politique, Paris: Muséum national d'histoire naturelle, 2008, pp. 374–84; Camille Faucourt, ‘L'annonce d'une renaissance: L'exposition “Les arts anciens de l'Amérique”’, in Christine Laurière, André Delpuech and Carine Peltier-Caroff (eds.), Les années folles de l'ethnographie: Trocadéro 28–37, Paris: Museum national d'histoire naturelle, 2017, pp. 51–73.

20 Christine Laurière, ‘Introduction’, in Laurière, Delpuech and Peltier-Caroff, op. cit. (19), pp. 7–45, 27–37.

21 Gorgus, Nina, Le magicien des vitrines: Le muséologue Georges Henri Rivière, Paris: Editions de la Maison des sciences de l'homme, 2003, pp. 83–93Google Scholar.

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23 Marcel Mauss, ‘L'ethnographie en France et à l’étranger’, Revue de Paris (1913) 20(5), pp. 537–60, 815–37, republished in Mauss, Oeuvres III, Cohésion sociale et divisions de la sociologie, Paris: Éditions de Minuit, 1969, pp. 395–435. On this text and its context see Christine Laurière (ed.), 1913: La recomposition de la science de l'homme, Paris: Bérose, 2015.

24 Christine Laurière and Carine Peltier-Caroff, ‘Un petit royaume de l'art primitif: La Salle du trésor (juin 1932)’, in Laurière, Delpuech and Peltier-Caroff, op. cit. (19), Les années folles de l'ethnographie: Trocadéro 28–37, pp. 186–91.

25 Laurière, op. cit. (20), pp. 37–40.

26 See the introduction and articles in this issue.

27 Reubi, Serge, Gentlemen, prolétaires et primitifs: Institutionnalisation, pratiques de collections et choix muséographiques dans l'ethnographie suisse, 1880–1950, Bern: Peter Lang, 2011Google Scholar.

28 Nélia Dias, Le Musée d'ethnographie du Trocadéro (1878–1908), Paris: Editions du CNRS, 1991, p. 102; Reubi, op. cit. (27), p. 605.

29 E.-H. Giglioli to Ernest Theodore Hamy, n.d., quoted in Dias, op. cit. (28), p. 102 n. 7.

30 Oscar-Amédée de Watteville du Grabe, Rapport adressé à M. le ministre de l'instruction publique sur le Museum ethnographique des missions scientifiques, Paris: Imprimerie nationale, 1877, p. 5, at https://gallica.bnf.fr/ark:/12148/bpt6k67537m (accessed 7 April 2021).

31 Antoine Degert, ‘Séance du 7 juillet 1883’, Bulletin de la Société de Borda (1883) 8(3), p. lvii, at https://gallica.bnf.fr/ark:/12148/bpt6k34174c (accessed 7 April 2021).

32 Nichols, op. cit. (7), p. 125.

33 Louis Grangier, ‘Notice historique: Quelques mots sur l'origine et les développements successifs du Musée cantonal de Fribourg’, in Catalogue du musée cantonal de Fribourg, Fribourg: L. Fragnière, 1882, pp. 3–11, 10. Gragnier was the museum director since 1875.

34 On dual organization in natural-history museums see Lynn K. Nyhart, Modern Nature: The Rise of the Biological Perspective in Germany, Chicago: The University of Chicago Press, 2009, p. 223. A similar division of display and study collections was adopted within German ethnographic museums. See H. Glenn Penny, Objects of Culture: Ethnology and Ethnographic Museums in Imperial Germany, Chapel Hill: University of North Carolina Press, 2002, p. 144.

35 Georges Henri Rivière, ‘Le Musée d'ethnographie du Trocadéro’, Documents (1929) 1, pp. 54–8, 56.

36 Christine Laurière, ‘Georges Henri Rivière au Trocadéro: Du magasin de bric-à-brac à la sécheresse de l’étiquette’, Gradhiva (2003) 33, pp. 57–66.

37 Musée d'ethnographie du Trocadéro, Instructions sommaires pour les collecteurs d'objets ethnographiques, Paris: Musée d'ethnographie du Trocadéro, 1931, p. 9.

38 Reubi, op. cit. (27), p. 540.

39 Musée d'ethnographie du Trocadéro, op. cit. (37), p. 26. The term ‘specimen’ appears nine more times on p. 9.

40 Julien Bondaz, ‘L'ethnographie parasitée? Anthropologie et entomologie en Afrique de l'ouest (1928–1960)’, L'Homme (2013) 206, pp. 121–50; Julien Bondaz, Nélia Dias and Dominique Jarrassé (eds.), ‘Introduction: Collectionner par-delà nature et culture’, Gradhiva (2016) 23, pp. 28–49.

41 André Delpuech, ‘Collectes, collecteurs, collections dans les années trente: Entre théorie ethnologique et réalités pratiques’, in Laurière, Delpuech and Peltier-Caroff, op. cit. (19), pp. 449–79, 455.

42 Musée d'ethnographie du Trocadéro, op. cit. (37), p. 9.

43 Benoît de L'Estoile, ‘“Une petite armée de travailleurs auxiliaires”: La division du travail et ses enjeux dans l'ethnologie française de l'entre-deux-guerres’, Les cahiers du Centre de recherches historiques: Archives (2005) 36, at http://ccrh.revues.org/3037 (accessed 20 February 2021).

44 André Delpuech, Lise Mész and Frédérique Servain-Riviale, ‘Un chantier des collections, un musée en chantier’, in Laurière, Delpuech and Peltier-Caroff, op. cit. (19), pp. 235–75, 268. I would like to thank Angèle Martin of the Archives Department of the Musée du quai Branly–Jacques Chirac for assistance in finding the archival documents.

45 Adrien Fedorowsky to ‘Monsieur le directeur’, 15 October 1930, Muséum national d'histoire naturelle de Paris, Bibliothèque centrale, Archives du Musée d'ethnographie du Trocadéro et du Musée de l'homme (hereafter MNHN, BCM, Archives MET MH), 2AM1I3e, Département des services techniques/digital reproduction at Musée du quai Branly–Jacques Chirac, DA001330/15471.

46 Fedorowsky, op. cit. (45).

47 On these scientific expeditions see Christine Laurière, L'Odyssée pascuane: Mission Métraux-Lavachery, Île de Pâques, 1934–1935, Paris: Bérose, 2014; Michèle Coquet, Un destin contrarié: La mission Rivière–Tillion dans l'Aurès (1935–1936), Paris: Bérose, 2014; Marianne Lemaire, Celles qui passent sans se rallier: La mission Paulme–Lifchitz, janvier–octobre 1935, Paris: Bérose, 2014; Jean Jamin, Le cercueil de Queequeg: Mission Dakar–Djibouti, mai 1931–février 1933, Paris: Bérose, 2014; Éric Jolly, Démasquer la société dogon: Sahara–Soudan (janvier–avril 1935), Paris: Bérose, 2014.

48 Reubi, op. cit. (27), p. 529.

49 Denise Paulme, quoted in Annie Dupuis, ‘À propos de souvenirs inédits de Denise Paulme et Michel Leiris: Sur la création du musée de l'Homme en 1936’, Cahiers d’études africaines (1999) 39(155–6), pp. 511–38, 519.

50 Delpuech, Mész and Servain-Riviale, op. cit. (44), p. 268.

51 At this time, the exchange was made with Phillips Academy, where an archaeological section was founded which later became part of the Peabody Museum.

52 The information was gathered through the valuable work of the archivists and curators of the Quai Branly–Jacques Chirac Museum, where these objects are kept today.

53 When Paul Rivet was appointed to the chair of anthropology at the Muséum national d'histoire naturelle (1928), he renamed it the ‘chair of ethnology of fossil and living men’. Laurière, op. cit. (19), p. 341.

54 Blanckaert, op. cit. (17).

55 Léo Frobenius, ‘La signification et la tâche des musées ethnographiques’, Mouseion (1929) 7, pp. 1–13, 8. On duplicates in German ethnography see Penny, op. cit. (34); as well as Rainer Buchmann's paper in this special issue.

56 Frobenius, op. cit. (55), p. 8.

57 Mauuarin, Anaïs, A l’épreuve des images: Photographie et ethnologie en France, 1930–1950, Strasbourg: Presses universitaires de Strasbourg, 2022, pp. 132–4Google Scholar.

58 Lameere, Jean, ‘La conception et l'organisation moderne des musées d'art et d'histoire’, Mouseion (1930) 12(3), pp. 239–311, 277Google Scholar.

59 Jiří Neustupný, ‘Echange des objets et de reproductions entres les musées’, in International Council of Museums, Première conférence biennale, Paris, 28 juin–3 juillet 1948, résumé des travaux, compte rendu des manifestations, Paris: ICOM, 1948, p. 45, at https://gallica.bnf.fr/ark:/12148/bpt6k1417890r (accessed 20 February 2021).

60 Anon., ‘Echange de doubles entre les Musées américains’, Mouséion: Supplément mensuel, November 1937, p. 12.

61 See International Council of Museums, ICOM News (December 1949) 2(6), p. 2.

62 Laurière, op. cit. (20).

63 Anaïs Mauuarin, ‘De “beaux documents” pour l'ethnologie: Expositions de photographies au Musée d'ethnographie du Trocadéro (1933–1935)’, Etudes photographiques (2015) 33, pp. 21–41.

64 Edwards, op. cit. (3), p. 54.

65 Date, Christopher and Hamber, Anthony, ‘The origins of photography at the British Museum, 1839–1960’, History of Photography (1991) 4(14), p. 309–25Google Scholar.

66 Laura Boyer, ‘La photographie de reproduction d'oeuvres d'art au XIXe siècle en France, 1839–1919’, PhD dissertation, Université Marc Bloch, Strasbourg, 2004, p. 281.

67 This question has been studied extensively. We can refer to the following synthetic perspective: Dorothea Peters, ‘Reproduced art: early photographic campaigns in European collections’, in Meyer and Savoy, op. cit. (6), pp. 45–57.

68 Lisa Lafontaine, ‘Les archives discrètes: Entrevoir la pratique photographique au Muséum national d'histoire naturelle’, Photographica (2020) 1, pp. 58–77.

69 In 1929 the International Museums Office (later ICOM) launched a very significant survey about ‘graphic reproductions of works of art’ from public collections in museums. Anon., ‘Réunion de la commission consultative d'experts de l'Office international des Musées (8–9 février)’, Mouseion (1929) 7, p. 79; anon., ‘Activité de l'OIM’, Mouseion (1929) 9, pp. 302–3.

70 Vladimir Markov [Voldemārs Matvejs], ‘Negro art’ (trans. Jeremy Howard), Art in Translation (2009 [1919]) 1, pp. 77–117, 79, quoted in Zoé Strother, ‘A la recherche de l'Afrique dans Negerplastik de Carl Einstein’, Gradhiva (2011) 14, pp. 30–55, 32.

71 Georg Thilenius, ‘La technique muséographique des collections d'ethnographie: Le Musée ethnographique de Hambourg’, Mouséion (1934) 27–8(3–4), pp. 55–123.

72 Gorgus, op. cit. (21), pp. 83–6.

73 ‘Rapport sommaire sur l'activité du Musée d'ethnographie depuis son rattachement au Muséum’, 29 June 1929, MNHN, BCM, Archives MET MH, 2AM1G2; SAMET, ‘Séance du conseil d'administration du 26 juin 1929’, MNHN, BCM, Archives MET MH, 2AM1G2. Unless otherwise specified, all translations from French texts are my own.

74 ‘Ordre de service n° 6: Rédaction de la fiche descriptive numérique’, 29 June 1929 [revised 7 February 1930], MNHN, BCM, Archives MET MH, 2AM1G2c. Rivière mentioned this card in Georges Henri Rivière, ‘Méthodes d'inventaire du Musée d'ethnographie du Trocadéro’, Mouseion (1933) 21–22, pp. 240–5.

75 Leroi-Gourhan, André, ‘L'ethnologie et la muséographie’, Revue de synthèse (1936) 11(1), pp. 27–30Google Scholar.

76 ‘Budget administratif de 1933’, 1933, MNHN, BCM, Archives MET MH, 2AM1G2e.

77 Georges Henri Rivière, ‘Principes de muséographie ethnographique’, 24 February 1932, MNHN, BCM, Archives MET MH, 2AM1G2e.

78 Rivière, op. cit. (77).

79 ‘Justification du crédit de 5 000 000 frs accordé par la chambre des députés au titre de l'outillage national’, 17 December 1931, MNHN, BCM, Archives MET MH, 2AM1G2.

80 Garrigues, Emmanuel and Pierre, Verger, ‘Entretien avec Pierre Verger’, L'Ethnographie (1991) 109, p. 171Google Scholar.

81 ‘Organigramme de la chaire d'anthropologie’, 13 March 1933, MNHN, BCM, Archives MET MH, 2AM1G3a. Duchemin then became a member of the Institut français d'Afrique noire, where he produced numerous photographs; see Mauuarin, Anaïs, ‘L'Afrique de l'ouest dans les tiroirs: Documentation scientifique et photographie coloniale à la photothèque de l'IFAN (Dakar)’, Photographica (2020) 1, pp. 78–91Google Scholar.

82 ‘Procès-verbal de réunion: 6e séance’, 5 July 1933, MNHN, BCM, Archives MET MH, 2AM1G2.

83 Cahier de dépouillement, n° 6(2), 1933, Musée du quai Branly–Jacques Chirac, D000416.

84 Thérèse Rivière to Albert Cintract, 26 October 1929, MNHN, BCM, Archives MET MH, 2AM1K24a.

85 See official museum correspondence with photographers in MNHN, BCM, Archives MET MH, 2AM1K59c (Lemare), 2AM1K83a (Rigal), 2AM1K45a (Gravot), 2AM1K57a (Lanièpce) et 2AM1K3e (Allié).

86 Information extracted from correspondence files as mentioned on business cards or business letterheads. See correspondence with photographers, op. cit. (85).

87 Thérèse Rivière to Marius Gravot, 14 October 1929, MNHN, BCM, Archives MET MH, 2AM1K45a.

88 Carine Peltier-Caroff, ‘Les photographies d'objets au musée d'ethnographie du Trocadéro: Cartes postales et vues expérimentales’, in Laurière, Delpuech and Peltier-Caroff, op. cit. (19), pp. 276–83, 279.

89 Thomas, Nicholas, ‘Licenced curiosity: Cook's Pacific voyages’, in Elsner, John and Cardinal, Roger (eds.), The Cultures of Collecting, London: Reaktion Books, 2014, p. 116–36Google Scholar.

90 Edwards, op. cit. (3), p. 58.

91 Poole, Deborah, Vision, Race, and Modernity: A Visual Economy of the Andean Image World, Princeton, NJ: Princeton University Press, 1997, p. 133CrossRefGoogle Scholar.

92 Strother, op. cit. (70), p. 32.

93 Geraldine A. Johnson, ‘“(Un)richtige Aufnahme”: Renaissance sculpture and the visual historiography of art history’, Art History (2013) 36(1), pp. 12–51; Grossman, op. cit. (13); Grossman, Wendy, Man Ray, African Art, and the Modernist Lens, Washington, DC: International Arts & Artists, 2009, pp. 68–9CrossRefGoogle Scholar.

94 Gorgus, op. cit. (21), p. 311 n. 44.

95 Leiris, Michel, ‘Bois rituels des falaises’, Cahiers d'art (1936) 6–7, pp. 192–9Google Scholar: eight photographs (six by Man Ray and two without author) are printed on six pages.

96 On the importance of this magazine for the MET see the following section.

97 Reubi, op. cit. (27), p. 602.

98 See correspondence between Théodore Monod and Georges Duchemin (IFAN) and Georges Tendron and Gérard Bailloud (Musée de l'homme), January 1947–August 1948, Musée du quai Branly–Jacques Chirac, D004071, Collections n° 567; see also correspondence between Bo Wennberg (Nationalmuseum Stockholm) and Michel Leiris and Gerard Bailloud (Musée de l'homme), about thirty photographs of objects, July–November 1954, Musée du quai Branly–Jacques Chirac, 003822, Collection n° 667.

99 Laurière, op. cit. (20).

100 Gervais, Thierry (ed.), The ‘Public’ Life of Photographs, Toronto and Cambridge, MA: Ryerson Image Centre and MIT Press, 2016Google Scholar.

101 Rivière sometimes sent a letter of thanks in this regard, as he did for Vu in 1932: Georges Henri Rivière to Miss Vogel, 19 December 1932, MNHN, BCM, Archives MET MH, 2AM1K97e.

102 These connections are reminiscent of those characterizing the publishing of natural-history periodicals in the last third of the nineteenth century, as shown by Geoffrey Belknap; published illustrations were already designed and discussed with a view to addressing the expectations of an identified community and helping to unite it. Belknap, Geoffrey, ‘Illustrating natural history: images, periodicals, and the making of nineteenth-century scientific communities’, BJHS (2018) 51(3), pp. 395–422CrossRefGoogle ScholarPubMed.

103 Rivière, op. cit. (22), p. 22.

104 Eckart von Sydow, ‘Polynésie et Mélanésie: L'art régional des mers du sud’, Cahiers d'art (1929) 2–3, pp. 61–4; Félix Speiser (Museum für Völkerkunde, Basel), ‘L'art plastique des Nouvelles Hébrides’, Cahiers d'art (1929) 2–3, pp. 91–4; Dominique Joseph Wölfel (Museum für Völkerkunde, Vienna), ‘Le style de l'art néo-calédonien’, Cahiers d'art (1929) 2–3, pp. 95–8.

105 This aspect appears in the correspondence between Zervos and Rivière (MNHN, BCM, Archives MET MH, 2AM1K20a) and is also suggested by the recording of a pack of photographs of museum objects providing by ‘Cahiers d'art’ (as donor) in the 1932 Inventory Booklet. Musée du quai Branly–Jacques Chirac, D000525.

106 Christian Zervos to Georges Henri Rivière, 22 September 1930, MNHN, BCM, Archives MET MH, 2AM1K20a.

107 ‘Procès-verbal de réunion’, 30 June 1928, MNHN, BCM, Archives MET MH, 2AM1G2; ‘Inauguration du musée d'ethnographie’, 27 June 1930, MNHN, BCM, Archives MET MH, 2AM1G2.

108 ‘Rapport sur l'activité du musée au cours de l'exercice 1931’, 14 January 1932, MNHN, BCM, Archives MET MH, 2AM1G2.

109 Peltier-Caroff, op. cit. (88), p. 279.

110 Laurière and Peltier-Caroff, op. cit. (24), p. 186.

111 Olivier Lugon, ‘Introduction’, in Lugon (ed.), Exposition et médias: Photographie, cinéma, télévision: Lausanne: L'age d'homme, 2012, p. 9.

112 Lugon, op. cit. (111), p. 9.

113 Lugon, op. cit. (111), p. 10.

114 Cahiers d'art, special issue, Exposition bronzes et ivoires du Bénin au Musée d'ethnographie, Palais du Trocadéro’, 1932.

115 Grossman, op. cit. (93), p. 61; Benjamin, op. cit. (13).

116 Saint-Raymond, Léa, ‘L'aura démultipliée: La photographie, outil de valorisation de la sculpture en vente publique’, Sculptures (2019) 6, pp. 34–40Google Scholar.

117 Peltier-Caroff, op. cit. (88), p. 280.