CASAR (WEDDING)
For many people, wedding is one of the most important events of their lives. It is a moment of
profound personal, emotional and intimate significance that shapes a new family, with the
natural presence of children, over time. Thus, the new married couple become emancipated
from their parents and families of origin in order to create a new family.
In Portugal, it is also one of the sacraments of the Catholic Church, and therefore an event
with great religious significance. If we consider how relevant it is for people to record those
moments with special significance for future memory, and those that, for Catholics, have an
added meaning, this is the most photographed sacrament, followed by baptism and solemn
communion. While nowadays it seems simple to photograph everything with mobile phones
and digital images, in the past it implied a considerable cost, then organised in albums or
frames. Until one day, when the “love” ends.
But marriage is much more than a religious ceremony. It is a contract with economic
implications that materialises an alliance between two families, with social consequences,
because often it is not a marriage between equals, in wealth or in poverty.
At the same time, it also has a cultural and symbolic significance. It is one of the most codified
rituals in Portuguese society: the clothing, the choreography of arrival and departure, the
placement of people in the church, the role of the parents and other relatives, the
“bridesmaids”, the mass and the civil ceremony, the procession, the guests, the wedding, the
departure for the “honeymoon”. Behind all this, lies the discretion about who pays for what,
the cost of the ceremonial clothes, the role of the dowry, the car rentals, a whole sequence of
acts photographed at specific moments.
Despite this personal and social importance, marriage is one of the least studied acts,
considering its implications. Everything looks the same and everything is very different, with
abundant iconography.
Wealth and poverty, race and identity, joy or sadness, devotion or compliance with rules, love
or business, marriage touches on everything and, nowadays; it involves changes as profound
as the generalisation of the option for de facto unions and marriages between people of the
same sex. Still… one of the things that is most copiously thrown away, offered, sold almost by
the weight, despised, are wedding photographs, not to mention menus and invitations.
Actually, it is not a lifelong agreement, it is often precarious and short-lived. Lovers, infidelity,
domestic violence, mutual disagreements and misunderstandings and, ultimately, divorce are
inherent to the experience of getting married.
The EPHEMERA ARCHIVE, through donation and acquisition, has thousands of these
photographs, most of them from the 20th century and, as usual, the quantity allows us to see
patterns beyond the apparent triviality and repetition. And that's what we have learnt from
viewing weddings that we intend to turn into an exhibition. Our collection also includes
countless
menus, invites, thematic magazines and even wedding dresses. Those included in the
exhibition have special stories.
It is this diversity – unexpected in any archive, but natural in the EPHEMERA ARCHIVE –, that
allows us to emphasise the importance of looking at all our habits and customs, those from the
most common citizens and those “at the top”, in their time evolution, and in the stories that
they carry behind them, just like the tails of the wedding dresses.
José Pacheco Pereira, June 2025
HOW DID THIS EXHIBITION COME ABOUT?
This exhibition aims to contribute to a broader reflection on the role of marriage in the
processes of social differentiation, on the social, cultural, geographical and identity
implications of wedding patterns, and also on the changes observed from early 20th century to
the middle of the same century.
Throughout the exhibition we can see that the images from the beginning of the century
reveal sumptuous wedding dresses, with photographs taken in studio and which were part of
the whole ceremony at the wealthiest weddings, once the photographic process has
developed, at the end of the 19th century. As and when photography widespread,
photographs of the wedding ritual began to emerge, from the preparation of both bride and
groom and their families at home, to the entrance in the church and the wedding procession,
the ceremony at the registry office and the banquet reception. These are the moments that
the exhibition follows.
The reproduction of the wedding ritual brings together, in a theatrical form, symbolic elements
represented in a very specific material culture. The setting where the wedding takes place, the
decoration, the menu served at the banquet reception, the garments of the ordinary guests, as
well as those who play a special role in the ceremony, such as the parents and godparents, and
above all the clothing of the bridal couple, with a special focus on the bride's outfits – the
wedding dress is a manifesto not only of social background and economic capacity, but also of
identity and cultural differences, of moral and religious codes. Thus, one can see how
weddings differ among the wealthy classes, who flaunt their wealth in their clothes, in the
church ornamentation and at the banquet reception.
The bride's dress, as part of the material culture of the wedding ritual, is the object most
strongly perceived, from the point of view of the image that depicts the celebration. The
audacity and innovation of the dresses in the 1920s and 1930s contrasted with the romantic
models of the 1940s and 1950s, which became ever more visually rich and embedded in a
pompous scenic apparatus.
In Portugal, at weddings in the 1940s and 1950s, wedding dresses became widespread, ranging
from those distinguished by noble fabrics, such as lace and shantung, to more popular ones,
like cotton. The bride's outfit was completed with the use of trimmings and jewellery.
But innovation was socially frowned upon, therefore brides tended to choose the same type of
dress, made by fashion designers who copied the models from specialised magazines, the
figurines. The bride's bouquet was also similar. As you can see in the photographs, brides in
the poorer classes did not get married in wedding dresses; they wore the best clothes they
had, which were usually used to go to mass on Sundays.
Throughout the exhibition we can see similarities and differences, epochs and places. That has
been our purpose.
Dores Ribeiro
Preparation
The wedding day begins long before the ceremony, with the grooming ritual of the bride – who
finally wears her dress, a family heirloom, sometimes. This is where the first photographic
record of the day is made, at the bride's home, often with her parents and other relatives. The
images are full of information: from the flowers to the furniture and, after a certain point
onwards, objects such as the TV set, allowing us to see the differences that existed and the
evolution of decoration and settings, but also the upgrading, or not, of the houses. The bride’s
dress, either simple or sophisticated, gives you an idea of her social status, the way fashion is
followed, the image she wants to project, not just to the groom, but publicly. It is the setting
that makes the bride the centre of the show.
The ceremony
The altar is the stage where the union is formalised, legitimising the new couple, and the
religious ceremony, divided between the arrival of the bride, often brought by her father's
arm, the mass, the exchange of rings and the signatures in the sacristy of both bride and
groom as well as the godparents, are moments of a day that mark the first chapter of a story
written by two. For many years, religious ceremonies were part of the majority of weddings,
but in recent years civil marriages have become increasingly common and are now the
majority.
The bridal couple
At first, the bride would go by horse-drawn carriage or even on foot, but later, the car became
the bride’s last refuge, still single; after the wedding, it would be the first place where she was
alone with the groom. Choosing the model of the car was part of the setting. The couple's
photograph, often given to family members, has evolved in form and meaning over time, from
the capture of the image to its presentation, especially in the 1950s and 1960s, when social
differences were also more noticeable. This exhibition also features some weddings that took
place in Africa, especially Mozambique, in a completely similar record to what would happen in
the metropolis.
The party
The group photos, outside the church, in a public space or at the wedding reception, capture
more than just smiles: they are a reflection of the social status of the guests and the bridal
couple. In more recent decades, a new area of activity has developed - wedding planners who
take care of everything, ranging from the outfits of bride and groom to the decoration of the
church or organising the party. The venue chosen, the menu, the music and the decoration
reflect economic capacity and social prestige, with the symbolic wedding cake at the centre
stage.
Memories
Photography art has become the quintessential medium for recording the most important
moments in people's social lives. The tradition of hiring a photographer to record the wedding
soon emerged, from the bride's grooming to the end of the party. For more institutional
weddings, such as those of kings or celebrities, the big news agencies would broadcast the
images to feed newspapers and magazines.
For a long time, photographers' shop windows were the main place where wedding
photographs were displayed on highly sought-after windows for by-passing people, both locals
and tourists. The so-called “social magazines”, more common from the 1980s onwards, did
also play this role, especially for the jet set succeeding local newspapers where wedding news
could be found or, in a more popular version, Crónica Feminina (which was once the best-
selling magazine in Portugal), or other publications of the same nature, where one could send
wedding photographs and engagement news.
In addition to conventional photographs, many of them with great technical sophistication,
there were also experiments with new formats, such as stereoscopic photographs, which, with
the right equipment, allowed you to get three-dimensional view of the image – and here are
some of those records. The British photographer Vanessa Winship has one of the most striking
phrases: “This is the paradox of photography – capturing the present moment, which is
immediately after the past.”
Clandestine wedding
The story goes like this: since the bride's father would not consent to the wedding, it took
place secretly without the knowledge of the bride's father and brothers. Only her mother
attended the wedding, as did the groom's family and friends. Some of the groom's friends
positioned themselves in strategic locations, had it not been for the bride's father turning up,
in which case the bride and groom would have to disappear through the sacristy. The groom's
gaze was also attentive to his friends' signals.
A wedding in Fafe
Not all the dresses were the same and the bride's imagination and the modiste's art, the
influences of popular culture, namely local traditions, did make themselves felt. These images
show a wedding held in Fafe, in 1974. The dress is adorned with colourful wildflowers,
especially poppies and marigolds, thus departing from the norm of white and corresponding to
the bride's taste, perhaps keeping up with the winds of change underway at the time. One of
Fafe's most notable seamstresses was Maria Emília de Oliveira, who made dozens of wedding
dresses, throughout her life, never repeating the same model and always looking for a touch of
originality, with the participation of her clients, who came to her precisely to have a unique
piece.
The village is celebrating
These images show a wedding that took place in S. Miguel do Rio Torto, Abrantes, in the
1970s. As was typical in inland villages, when the time came for the wedding ceremony, both
bride and groom said goodbye to their parents, asking for their blessing, and hugged their
close family.
Then the groom, accompanied by his godparents and guests, leaves his father's house and
goes to collect the bride, who is at her parents' house. This is where the wedding procession is
formed. The bride leads the way in her dress, flanked by the godparents and followed by the
guests, heading towards the church. Once the ceremony is over and the customary
photographs have been taken, the procession is formed again for the wedding banquet.
This whole ritual, in smaller towns, was very different from what used to happen in the big
cities.
Wedding in Las Vegas
When it comes to weddings, Isabel had one wish: to get married in Las Vegas, which she did on
the 13 th of August 2016, at the Viva Las Vegas Wedding Chapel. The theme chosen for the
ceremony was “Forever More Under the Outdoor Gazebo”. This is the dress she wore at the
time and here are some of the documents certifying the event: marriage licence and legal
certificate issued by the Office of Lynn Marie Goya, Clark County, Las Vegas, Nevada
I've always said that a woman should only marry for love and continue to marry for love -
Zsa Zsa Gabor -
EPHEMERA ARCHIVE
EPHEMERA was created in 2009 by José Pacheco Pereira as an evolution of his personal library
and archive. The EPHEMERA ARCHIVE is the largest private archive in Portugal and holds
numerous documents from institutions and individuals, propaganda from across the party-
political spectrum, various thematic collections and also an extensive photographic archive
from donations and purchases. This photographic archive houses many personal, family,
documentary and photojournalistic collections. In the family archives, it has been possible to
gather and highlight a collection of many hundreds of wedding photographs from different
eras, some of which are more than one century old. This exhibition, CASAR (GETTING
MARRIED), was made from that collection, but also from many spare acquisitions, in
bookshops, at the Feira da Ladra, at the Vandoma market or in small local markets, and allows
us to follow the evolution of wedding celebration over a long time ranging from early 20th
century to the 1980s, from the grooming to the party and the wedding reception, including the
religious ceremony and the group photographs. The images show the evolution of customs,
from clothing to the form of celebration, the social and cultural differences and also the
contrast between what was living in the cities and in the country inland.
This exhibition is being shown in the gallery of the Church of S. Roque, thanks to the support of
Santa Casa da Misericórdia de Lisboa.
CASAR (WEDDINGS)
Commissioner
José Pacheco Pereira
Curatorship
Dores Ribeiro
Fernando Negreira
Manoel Falcão
Rita Maltez
Exhibition design and graphic design
Vivóeusébio
Soundtrack
Fast Eddie Nelson
Social media managers
Diogo Almeida
Iris Couto
Translation
Fernando Dias Antunes
Assembly
Stripeline
Organisation
Associação Cultural EPHEMERA
Santa Casa da Misericórdia da Lisboa
Acknowledgments
Museu de S. Roque
Teresa Morna - Director
Maria João Pacheco Ferreira and Maria do Carmo Lino
Direção da Cultura da SCML
Teresa Nicolau - Director
Ana Sofia Santos
Ephemera – Volunteers and Friends
Carmo Matos, Joaquim Matos, Fernando Correia de Oliveira, Mariana Barão, Lara Costa, Eduardo Pequeno, Francisco Carvalheira,
Isabel Soares e Palmira Lobo
Supports
Printed on Soporset Premium Offset 100 g/m2 offered by The Navigator Company
Printing offered by Onda Grafe
APIGRAF
BIOSEC
The images used in this exhibition come from gifts of family photographic estates received by the Ephemera Archive or from
acquisitions made by it at fairs and markets, with no limits on their use and dissemination. The selection of photographs exhibited
aims only to show the evolution of the image of marriage over time and does not follow any personal selection criteria.
For many people, wedding is one of the most important events of their lives. It is a moment of
profound personal, emotional and intimate significance that shapes a new family, with the
natural presence of children, over time. Thus, the new married couple become emancipated
from their parents and families of origin in order to create a new family.
In Portugal, it is also one of the sacraments of the Catholic Church, and therefore an event
with great religious significance. If we consider how relevant it is for people to record those
moments with special significance for future memory, and those that, for Catholics, have an
added meaning, this is the most photographed sacrament, followed by baptism and solemn
communion. While nowadays it seems simple to photograph everything with mobile phones
and digital images, in the past it implied a considerable cost, then organised in albums or
frames. Until one day, when the “love” ends.
But marriage is much more than a religious ceremony. It is a contract with economic
implications that materialises an alliance between two families, with social consequences,
because often it is not a marriage between equals, in wealth or in poverty.
At the same time, it also has a cultural and symbolic significance. It is one of the most codified
rituals in Portuguese society: the clothing, the choreography of arrival and departure, the
placement of people in the church, the role of the parents and other relatives, the
“bridesmaids”, the mass and the civil ceremony, the procession, the guests, the wedding, the
departure for the “honeymoon”. Behind all this, lies the discretion about who pays for what,
the cost of the ceremonial clothes, the role of the dowry, the car rentals, a whole sequence of
acts photographed at specific moments.
Despite this personal and social importance, marriage is one of the least studied acts,
considering its implications. Everything looks the same and everything is very different, with
abundant iconography.
Wealth and poverty, race and identity, joy or sadness, devotion or compliance with rules, love
or business, marriage touches on everything and, nowadays; it involves changes as profound
as the generalisation of the option for de facto unions and marriages between people of the
same sex. Still… one of the things that is most copiously thrown away, offered, sold almost by
the weight, despised, are wedding photographs, not to mention menus and invitations.
Actually, it is not a lifelong agreement, it is often precarious and short-lived. Lovers, infidelity,
domestic violence, mutual disagreements and misunderstandings and, ultimately, divorce are
inherent to the experience of getting married.
The EPHEMERA ARCHIVE, through donation and acquisition, has thousands of these
photographs, most of them from the 20th century and, as usual, the quantity allows us to see
patterns beyond the apparent triviality and repetition. And that's what we have learnt from
viewing weddings that we intend to turn into an exhibition. Our collection also includes
countless
menus, invites, thematic magazines and even wedding dresses. Those included in the
exhibition have special stories.
It is this diversity – unexpected in any archive, but natural in the EPHEMERA ARCHIVE –, that
allows us to emphasise the importance of looking at all our habits and customs, those from the
most common citizens and those “at the top”, in their time evolution, and in the stories that
they carry behind them, just like the tails of the wedding dresses.
José Pacheco Pereira, June 2025
HOW DID THIS EXHIBITION COME ABOUT?
This exhibition aims to contribute to a broader reflection on the role of marriage in the
processes of social differentiation, on the social, cultural, geographical and identity
implications of wedding patterns, and also on the changes observed from early 20th century to
the middle of the same century.
Throughout the exhibition we can see that the images from the beginning of the century
reveal sumptuous wedding dresses, with photographs taken in studio and which were part of
the whole ceremony at the wealthiest weddings, once the photographic process has
developed, at the end of the 19th century. As and when photography widespread,
photographs of the wedding ritual began to emerge, from the preparation of both bride and
groom and their families at home, to the entrance in the church and the wedding procession,
the ceremony at the registry office and the banquet reception. These are the moments that
the exhibition follows.
The reproduction of the wedding ritual brings together, in a theatrical form, symbolic elements
represented in a very specific material culture. The setting where the wedding takes place, the
decoration, the menu served at the banquet reception, the garments of the ordinary guests, as
well as those who play a special role in the ceremony, such as the parents and godparents, and
above all the clothing of the bridal couple, with a special focus on the bride's outfits – the
wedding dress is a manifesto not only of social background and economic capacity, but also of
identity and cultural differences, of moral and religious codes. Thus, one can see how
weddings differ among the wealthy classes, who flaunt their wealth in their clothes, in the
church ornamentation and at the banquet reception.
The bride's dress, as part of the material culture of the wedding ritual, is the object most
strongly perceived, from the point of view of the image that depicts the celebration. The
audacity and innovation of the dresses in the 1920s and 1930s contrasted with the romantic
models of the 1940s and 1950s, which became ever more visually rich and embedded in a
pompous scenic apparatus.
In Portugal, at weddings in the 1940s and 1950s, wedding dresses became widespread, ranging
from those distinguished by noble fabrics, such as lace and shantung, to more popular ones,
like cotton. The bride's outfit was completed with the use of trimmings and jewellery.
But innovation was socially frowned upon, therefore brides tended to choose the same type of
dress, made by fashion designers who copied the models from specialised magazines, the
figurines. The bride's bouquet was also similar. As you can see in the photographs, brides in
the poorer classes did not get married in wedding dresses; they wore the best clothes they
had, which were usually used to go to mass on Sundays.
Throughout the exhibition we can see similarities and differences, epochs and places. That has
been our purpose.
Dores Ribeiro
Preparation
The wedding day begins long before the ceremony, with the grooming ritual of the bride – who
finally wears her dress, a family heirloom, sometimes. This is where the first photographic
record of the day is made, at the bride's home, often with her parents and other relatives. The
images are full of information: from the flowers to the furniture and, after a certain point
onwards, objects such as the TV set, allowing us to see the differences that existed and the
evolution of decoration and settings, but also the upgrading, or not, of the houses. The bride’s
dress, either simple or sophisticated, gives you an idea of her social status, the way fashion is
followed, the image she wants to project, not just to the groom, but publicly. It is the setting
that makes the bride the centre of the show.
The ceremony
The altar is the stage where the union is formalised, legitimising the new couple, and the
religious ceremony, divided between the arrival of the bride, often brought by her father's
arm, the mass, the exchange of rings and the signatures in the sacristy of both bride and
groom as well as the godparents, are moments of a day that mark the first chapter of a story
written by two. For many years, religious ceremonies were part of the majority of weddings,
but in recent years civil marriages have become increasingly common and are now the
majority.
The bridal couple
At first, the bride would go by horse-drawn carriage or even on foot, but later, the car became
the bride’s last refuge, still single; after the wedding, it would be the first place where she was
alone with the groom. Choosing the model of the car was part of the setting. The couple's
photograph, often given to family members, has evolved in form and meaning over time, from
the capture of the image to its presentation, especially in the 1950s and 1960s, when social
differences were also more noticeable. This exhibition also features some weddings that took
place in Africa, especially Mozambique, in a completely similar record to what would happen in
the metropolis.
The party
The group photos, outside the church, in a public space or at the wedding reception, capture
more than just smiles: they are a reflection of the social status of the guests and the bridal
couple. In more recent decades, a new area of activity has developed - wedding planners who
take care of everything, ranging from the outfits of bride and groom to the decoration of the
church or organising the party. The venue chosen, the menu, the music and the decoration
reflect economic capacity and social prestige, with the symbolic wedding cake at the centre
stage.
Memories
Photography art has become the quintessential medium for recording the most important
moments in people's social lives. The tradition of hiring a photographer to record the wedding
soon emerged, from the bride's grooming to the end of the party. For more institutional
weddings, such as those of kings or celebrities, the big news agencies would broadcast the
images to feed newspapers and magazines.
For a long time, photographers' shop windows were the main place where wedding
photographs were displayed on highly sought-after windows for by-passing people, both locals
and tourists. The so-called “social magazines”, more common from the 1980s onwards, did
also play this role, especially for the jet set succeeding local newspapers where wedding news
could be found or, in a more popular version, Crónica Feminina (which was once the best-
selling magazine in Portugal), or other publications of the same nature, where one could send
wedding photographs and engagement news.
In addition to conventional photographs, many of them with great technical sophistication,
there were also experiments with new formats, such as stereoscopic photographs, which, with
the right equipment, allowed you to get three-dimensional view of the image – and here are
some of those records. The British photographer Vanessa Winship has one of the most striking
phrases: “This is the paradox of photography – capturing the present moment, which is
immediately after the past.”
Clandestine wedding
The story goes like this: since the bride's father would not consent to the wedding, it took
place secretly without the knowledge of the bride's father and brothers. Only her mother
attended the wedding, as did the groom's family and friends. Some of the groom's friends
positioned themselves in strategic locations, had it not been for the bride's father turning up,
in which case the bride and groom would have to disappear through the sacristy. The groom's
gaze was also attentive to his friends' signals.
A wedding in Fafe
Not all the dresses were the same and the bride's imagination and the modiste's art, the
influences of popular culture, namely local traditions, did make themselves felt. These images
show a wedding held in Fafe, in 1974. The dress is adorned with colourful wildflowers,
especially poppies and marigolds, thus departing from the norm of white and corresponding to
the bride's taste, perhaps keeping up with the winds of change underway at the time. One of
Fafe's most notable seamstresses was Maria Emília de Oliveira, who made dozens of wedding
dresses, throughout her life, never repeating the same model and always looking for a touch of
originality, with the participation of her clients, who came to her precisely to have a unique
piece.
The village is celebrating
These images show a wedding that took place in S. Miguel do Rio Torto, Abrantes, in the
1970s. As was typical in inland villages, when the time came for the wedding ceremony, both
bride and groom said goodbye to their parents, asking for their blessing, and hugged their
close family.
Then the groom, accompanied by his godparents and guests, leaves his father's house and
goes to collect the bride, who is at her parents' house. This is where the wedding procession is
formed. The bride leads the way in her dress, flanked by the godparents and followed by the
guests, heading towards the church. Once the ceremony is over and the customary
photographs have been taken, the procession is formed again for the wedding banquet.
This whole ritual, in smaller towns, was very different from what used to happen in the big
cities.
Wedding in Las Vegas
When it comes to weddings, Isabel had one wish: to get married in Las Vegas, which she did on
the 13 th of August 2016, at the Viva Las Vegas Wedding Chapel. The theme chosen for the
ceremony was “Forever More Under the Outdoor Gazebo”. This is the dress she wore at the
time and here are some of the documents certifying the event: marriage licence and legal
certificate issued by the Office of Lynn Marie Goya, Clark County, Las Vegas, Nevada
I've always said that a woman should only marry for love and continue to marry for love -
Zsa Zsa Gabor -
EPHEMERA ARCHIVE
EPHEMERA was created in 2009 by José Pacheco Pereira as an evolution of his personal library
and archive. The EPHEMERA ARCHIVE is the largest private archive in Portugal and holds
numerous documents from institutions and individuals, propaganda from across the party-
political spectrum, various thematic collections and also an extensive photographic archive
from donations and purchases. This photographic archive houses many personal, family,
documentary and photojournalistic collections. In the family archives, it has been possible to
gather and highlight a collection of many hundreds of wedding photographs from different
eras, some of which are more than one century old. This exhibition, CASAR (GETTING
MARRIED), was made from that collection, but also from many spare acquisitions, in
bookshops, at the Feira da Ladra, at the Vandoma market or in small local markets, and allows
us to follow the evolution of wedding celebration over a long time ranging from early 20th
century to the 1980s, from the grooming to the party and the wedding reception, including the
religious ceremony and the group photographs. The images show the evolution of customs,
from clothing to the form of celebration, the social and cultural differences and also the
contrast between what was living in the cities and in the country inland.
This exhibition is being shown in the gallery of the Church of S. Roque, thanks to the support of
Santa Casa da Misericórdia de Lisboa.
CASAR (WEDDINGS)
Commissioner
José Pacheco Pereira
Curatorship
Dores Ribeiro
Fernando Negreira
Manoel Falcão
Rita Maltez
Exhibition design and graphic design
Vivóeusébio
Soundtrack
Fast Eddie Nelson
Social media managers
Diogo Almeida
Iris Couto
Translation
Fernando Dias Antunes
Assembly
Stripeline
Organisation
Associação Cultural EPHEMERA
Santa Casa da Misericórdia da Lisboa
Acknowledgments
Museu de S. Roque
Teresa Morna - Director
Maria João Pacheco Ferreira and Maria do Carmo Lino
Direção da Cultura da SCML
Teresa Nicolau - Director
Ana Sofia Santos
Ephemera – Volunteers and Friends
Carmo Matos, Joaquim Matos, Fernando Correia de Oliveira, Mariana Barão, Lara Costa, Eduardo Pequeno, Francisco Carvalheira,
Isabel Soares e Palmira Lobo
Supports
Printed on Soporset Premium Offset 100 g/m2 offered by The Navigator Company
Printing offered by Onda Grafe
APIGRAF
BIOSEC
The images used in this exhibition come from gifts of family photographic estates received by the Ephemera Archive or from
acquisitions made by it at fairs and markets, with no limits on their use and dissemination. The selection of photographs exhibited
aims only to show the evolution of the image of marriage over time and does not follow any personal selection criteria.