Introduction:
In 1874 the ‘première exposition‘ of the ‘Société anonyme des artistes peintres, sculpteurs, graveurs, etc.’ was held in Paris. This exposition is now mostly called the 1st ‘impressionist’ exposition. There were 31 partakers of which 1 was not mentioned in the catalogue (=hc). The catalogue rendered the numbers 1-165, but in reality there were about 225 art-works exhibited. On this page you will find an accounted impression of these exhibited art-works in 169 pictures. See the accounts of the partaking artists and the clarification at the bottom of this page. If you double click on the first picture and then click on full screen, you can create a slideshow. On a smartphone or laptop you can also zoom in. Enjoy!
Zacharie Astruc, 1873, Scène de rue à Cuenca, wc, 57×80, MBA Pau (iR6;Mx) Compare: 1IE-1874-2, La Leçon du vieux torero (aquarelle).
Zacharie Astruc: 1867ca, Woman on her balcony, wc, 30×22, Kh Bremen (iR10;iR13;R2,p118;M58) Compare: 1IE-1874-3-1, Dames flamandes à leur fenêtre (aquarelle).
Zacherie Astruc, 1IE-1874-3-5, Les présents Chinois (Londres), aquarelle. Now: The Chinese presents, wc, 38x55cm, Flescher New York (iR6;R2,p124;R90II,p3+15)
Zacharie Astruc, 1IE-1874-3-6, Intérieur Parisien, aquarelle =1874, A Parisien interieur, gouache, 36x28cm, MBA Évreux (iR2;iR23;R87,p229;R90II,p15;R2,p118)
Zacharie Astruc, 18xx, Couple in a farmyard, wc, 26×33, A2021/02/16 (iR42) Maybe:1IE-1874-4-1, Estaminet dans les Flandres + HD1878/04/11-112, Estaminet dans la campagne flamande.
Zacharie Astruc, 18xx, Woman With A Parasol In A Boat, wc, 25×17, xx (iR10;iR116). Compare: 1IE-1874-4-4, Étang de Saint-Josse-ten-Noode (Flandres) + HD1878/04/11-113, L’Étang d’Ixelles (Bruxelles).
Antoine-Ferdinand Attendu, 18xx, Sucy en Brie, 46×33, xx (iR13;R2,p119;R90I,p4;R87,p229). Compare: 1IE-1874-9, quelques réflexion (au XIIIe arrondissement).
Eugène Boudin, 1IE-1874-17, Le Toulinguet, côtes de Camaret (Finistère). Probably: 1872, Camaret, le Toulinguet, 54×90, private (iR2;R87,p230;R2,p119;R90II,p3)
Eugène Boudin: 1IE-1874-18, Rivage de Portrieux (Côtes-du-Nord) =? 1874, CR964, The Coast of Portrieux, 85×118, private (iR10;iR6;iR2;iR1;R2,p125;R90II,p3;R122,no964). Compare: S1874-230, Rivage du Portrieux.
Eugène Boudin, 1IE-1874-19, Rivage de Portrieux (Côtes-du-Nord). Compare: 1875, The Shore and the Sea at Portrieux, 54×90, private (iR2;R2,p119;R90II,p3)
Eugène Boudin, 1IE-1874-20-1, études de ciel (pastels). Maybe?: 1860, Seascape with Large Sky, pastel, 21×29, A2013/05/25 (iR2;iR11;R2,p119)
Eugène Boudin, 1IE-1874-20-2, études de ciel (pastels). Maybe?: 18xx, Sky, an afternoon in October, pastel, 21×29, A2000/11/20 (iR13;R2,p119;R87,p230)
Eugène Boudin, 1IE-1874-20-3, études de ciel (pastels). Maybe?: 18xx, Study of the sky, pastel, 15×22, A2017/03/29 (iR13;iR10;R2,p119;R87,p230)
Eugène Boudin, 1IE-1874-20-4, études de ciel (pastels). Maybe?: 1854-59ca, Sunset and cliff (Étretat), pastel, 15×21, MEB Honfleur (iR23;R51,p197;R2,p119;R87,p230;M19) =EdBA-1899
Eugène Boudin, 1IE-1874-21-1, études diverses. Maybe??: 1855-60, Honfleur, the lighthouse, pastel, xx, private (iR2;aR2;R2,p119;R87,p230)
Eugène Boudin, 1IE-1874-21-2, études diverses. Maybe??: 1860, The Saint-Siméon Farm, pastel, 20×30, private (iR2;R2,p119;R87,p230;R161,p14)
Eugène Boudin, 1IE-1874-22-2, Plage de Trouville (Aquarelles). Maybe?: 1865ca, A Couple Seated on the Beach with Two Dogs, watercolour, 17×21, NGA Washington (iR2;R2,p119;R87,p230;M21)
Eugène Boudin, 1IE-1874-22-3, Plage de Trouville (Aquarelles). Maybe: 1872/05/09, Crinolines on the Beach, wc, xx, private (iR2;R2,p119;R87,p230)
Eugène Boudin, 1IE-1874-22-4, Plage de Trouville (Aquarelles). Maybe?: 1866, Beach of Trouville, wc, 35×42, A2018/12/04 (iR11;R2,p119;R87,p230)
Félix Bracquemond, 1IE-1874-23, Portrait (dessin). Maybe??: 1860ca, Croquis de Bracquemond, Portrait de l’auteur, dr, 10×17, A2015/11/26 (iR239;iR10)
Félix Bracquemond, 1IE-1874-24-1, portrait de M Robert. Now: 1873, B94-4, Portrait of Louis Robert, administrateur de Sèvres, etch, 34×24, Metropolitan (iR6;R2,p119;R90II,p15R85,no94)
Félix Bracquemond, 1IE-1874-24-2, Portrait de M. Meyer Heine. Now: 1872, B80-2, Meyer-Heine, chef émailleur de la manufacture de Sèvres, etch, 35×26, NYPL (iR61;R2,p119;R90II,p15;R85,no80)
Félix Bracquemond, 1IE-1874-24-3, Portrait de M Hoschedé. Now: 1871, B63 Hoschedé, d’après nature, etch, 30×20, NYPL (iR61;iR10;R90II,p15;R2,p119;R85,no63).
Félix Bracquemond, 1IE-1874-24-4, Portrait de M Edwards. Now: 1872, B38, Edwin Edwards, etch, 16×15, BNF Paris (iR6;R73,p45;R2,p119;R90II,p15)
Félix Bracquemond, 1IE-1874-24-5, Portrait de M Aug Comte. Option 1: 1851, B22, portrait d’Auguste Comte, fondateur de la religion de l’humanité, etch, 19×14, VMFA Richmond (iR10;Mx;R85,no22;R52,p138-9;R2,p119;R90II,p16)
Félix Bracquemond, 1IE-1874-24-6, Portrait de M. Ch. Kean. Now: 1871, B66, Charles Kean, etch, 23×17, in 1884, Gazette des Beaux-Arts + 1891/04, L’Artiste (iR6;iR48;R2,p119;R90II,p16)
Félix Bracquemond, 1IE-1874-24-7, Portrait de M A Legros. Option 2: 1861, B73-1, Alphonse Legros, etch, 32×22, NSW Sydney (iR61;iR6;iR10;R85,no73;R90II,p16;R2,p119)
Félix Bracquemond, 1IE-1874-24-8, portrait de M Meryon. Option 1: 1853, B77, Charles Meryon, graveur, etch, 20×15, BNF Paris (iR61;R52,p35;R2,p119;R90II,p16;R85,no77)
Félix Bracquemond, 1IE-1874-24-9, portrait de Th. Gautier. Now: 1857, B49, Théophile Gautier, etch, 16×12, BM London (iR6;iR61;iR1;R52,p171;R2,p119;R90II,p16;R87,p231). Also S1859-3529.
Félix Bracquemond, 1IE-1874-24-10, Portrait de M. Th. Gautier (le Tombeau). Now: 1873, B50-4, Le tombeau de Théophile Gautier, etch, 35×26, NYPL (iR10;iR61;R2,p119;R90II,p16;R85,no50)
Félix Bracquemond, 1IE-1874-24-11, Portrait de M Baudelaire. Now:: 1861, B10, Charles Baudelaire (after his own drawing), etch, 35×26, NYPL (iR61;R87,p232;R2,p119;R90II,p17;R85,no10)
Félix Bracquemond, 1IE-1874-25-1, La Locomotive. Now: 1873, B336, Rain steam and speed (after Turner), etch, 22×26, Metropolitan (iR6;R2,p119;R90II,p17)
Félix Bracquemond, 1IE-1874-25-2, Le Lièvre, Now: 1872, B277, The Hare a Misty Morning (after A. de Balleroy), etch, 16×25, BNF Paris (iR10;R73,p39;R2,p119;R90II,p17)
Félix Bracquemond, 1IE-1874-25-3, Le Divan. Now: 1863, B279, Young Woman Reclining, in Spanish Costume (after Manet), etch, 30×42, Yale New Haven (iR10;iR135;R2,p119;R90II,p17;R87,p232)
Félix Bracquemond, 1IE-1874-25-4 Le Tournoi, d’après Rubens. Now: 1862-64, B274, A tournament (after Rubens), etch, 34×44, BM London (iR10;iR105;iR1;R2,p119;R90II,p17) =SdR1863-658 + S1864-2850.
Félix Bracquemond, 1IE-1874-25-5, La Source, d’après Ingres. Now: 1849-70ca, B275, The source (after Ingres), etch, 31×35, NYPL (iR61;R2,p119;R90II,p18)
Félix Bracquemond, 1IE-1874-25-6, La Servante, d’après Leys. Maybe: 1868, B280-4-1, The servant (after Leys), etch, 25×15, BM London (iR10;iR61;R2,p119;R85,no280)
Félix Bracquemond, 1IE-1874-26-1, Les Saules. Now: 1852-82, The willows of Mottiaux, etch, 20×30, NYPL (iR61;R90II,p18;R2,p119)
Félix Bracquemond, 1IE-1874-26-2, Les arbres de la manufacture à Sèvres. Probably: 1873, B209, Étude de paysage (Study of a landscape), etch, 14×32, BNF Paris (iR10;R73,p46;R2,p119;R90II,p18)
Félix Bracquemond, 1IE-1874-26-3, Les Charmes. Maybe??: 1853, B131, Deux gros troncs de charme devant un mur (Two large hornbeam trunks in front of a wall), etch, 34×45, NYPL (iR61;iR10;iR6;R85,no131;R52,p50)
Félix Bracquemond, 1IE-1874-26-4, Les Bouleaux. Maybe: 1853, B128, Trois bouleaux avec un enfant (three birch trees with a child), etch, 13×9, private (iR61;R52,p49;R2,p119)
Félix Bracquemond, 1IE-1874-26-5, La Montée de Bellevue. Now!?: 1873, B210, Le chemin de Bellevue et deux maisons de la rue Brongniar, à Sèvres (The Bellevue road and two houses in the rue Brongniar, in Sèvres), etch, 10×32, Virginia MFA (iR10;R2,p119;R90II,p18)
Félix Bracquemond, 1IE-1874-26-6, Le Mur. Now: 1868, B183, La Seine près de Passy (The Seine near Passy), etch ps, 24×31, BNF Paris (iR61;R73,p43;R2,p119;R90II,p19)
Félix Bracquemond, 1IE-1874-26-7, Les Bachots. Now: 1858ca, B161, Bachots au bord de la Seine (Boats on the banks of the Seine), drypoint etch, 25×35, BNF Paris (iR61;R52,p73;R73,p37;R2,p119;R90II,p18)
Félix Bracquemond, 1IE-1874-27-1, Le Chemin du parc = 18xx, B208, The road in the parc, etch, 22×23, BNF Paris (R90II,p19+5;R85,no208;R2,p119)
Félix Bracquemond, 1IE-1874-27-2, Frontispice pour les Fleurs du mal. Maybe: 1861, B378-2, Unpublished frontispiece for Baudelaire’s Les Fleurs du Mal, etch 18×12, Metropolitan (iR6;R73,p37;R2,p119;R90II,p19;R85,no378)
Félix Bracquemond, 1IE-1874-27-3, Margot la critique. Now: 1854, B113, Margot la Critique, etch, 22×19, Metropolitan (iR6;iR10;iR1;R52,p86-8;R2,p119;R90II,p19) Also: S1855-4602.
Félix Bracquemond, 1IE-1874-27-4, Bois de Boulogne. Now: 1857, B158, Le Bois de Boulogne (les cascades, etch, 16×12 or 55×35, Metropolitan (iR6;R52,p65;R90II,p19;R2,p119)
Félix Bracquemond, 1IE-1874-27-5, La mort de matamore (Capitaine Fracasse). Now: 1852-82, B177, The death of Matamore (topic taken from Capitaine Fracasse), etch, 16×23, BNF Paris (iR61;R2,p119;R90II,p20)
Edouard Brandon, 1IE-1874-29, Première Lecture de la Loi. Probably: 1868-69, Scene in a Synagogue, 156×88, Philadelphia MA (iR6;iR1;iR3;iR26;M28;aR10;R87,p232;R2,p199;R90II,p5+20) = S1869-319, La sortie de la loi le jour de sabbat.
Edouard Brandon, 1IE-1874-30, Portrait de M. A.Z. (dessin) =? S1867-1657, Portrait de M. A. Z.; dessin. Compare: 1858, William Eden Nesfield, dr+gouach, 22×14, NPG London (M180;iR1;R2,p119).
Edouard Brandon, 1IE-1874-31-1, Aquarelles. Maybe??: 1855, Paysage de bord de lac animé (or: Animals going to the lake of Tiberias; or: Leaving for the fields), wc, 12×26, A2018/05/18 (iR11;iR13;iR1;R2,p119)
Edouard Brandon, 1IE-1874-31-2, Aquarelles. Maybe??: 1856-63 (18xx), Vue de l’acque Acetosa au nord de Rome, 15×31, A2018/02/13 (iR10;iR11;iR1;R2,p119). Maybe also: S1870-3144, Quinze aquarelles; même numéro: Souvenirs d’Italie. Compare: HD18971213-69, Campagne de Rome. (AquareIle)
Edouard Brandon, 1IE-1874-31-3, Aquarelles. Maybe??: 18xx, Rue à Alevasco, wc, 11×18, A2013/11/07 (iR13;iR1;R2,p119). Maybe also: S1870-3144, Quinze aquarelles; même numéro: Souvenirs d’Italie + HD1897/12/13-66, Escalier dans une ruelle à Rome (Aquarelle).
Edouard Brandon, 1IE-1874-31-5, Aquarelles. Maybe??: 1856-63 (18xx), La chapelle Sixtine à Rome, wc, 23×17, DAG Louvre (iR23;M5a;aR4;R2,p119). Maybe also: S1870-3144, Quinze aquarelles; même numéro: Souvenirs d’Italie. Maybe??: HD1897/12/13-??.
Edouard Brandon, 1IE-1874-31-6, Aquarelles. Maybe??: 1856-63 (18xx), Two Roman peasant women, wc, 28×14, DAG Louvre (iR23;M5a;iR1;R2,p119). Maybe also: S1870-3144, Quinze aquarelles; même numéro: Souvenirs d’Italie.
Edouard Brandon, 1IE-1874-32, Exposition du corps de Sainte-Brigitte à Rome, en 1392 (carton fusain). Compare: Unknown artist, 1xxx, The death of St. Brigid, photo room in the Brigittine convent (aR16;iR10;iR1;R2,p119). Compare: HD1897/12/13-44+46 , La Mort de sainte Brigitte.
Pierre-Isidore Bureau: 1867, Moonlight on the Banks of the Oise near L’Isle-Adam, 33 x 41, Orsay (MLS Isle-Adam) (iR20; aR1; R3,p55;R2,p120) =S1867-240, Clair de lune, sur les bords de l’Oise, à l’Isle-Adam. Perhaps: 1IE-1874-35, Bords de l’Oise, Isle-Adam, clair-de-lune.
Adolphe-Félix Cals, 1IE-1874-36, Portrait de Madame Ed. G. Now: 1874, Portrait de jeune fille , 38×33, MBA Dijon (iRxx;iR23;iR10;R2,p120;R90II,p6;R194,no20).
Adolphe-Félix Cals, 1IE-1874-37, Le bon père Pêcheur (120×100) Compare: 1874, Le bon père Pêcheur à Honfleur, 41×34, xx (R90II,p21+6;R87,p234;R2,p161;aR2,144+208)
Paul Cézanne, 1IE-1874-42, La maison du Pendu, à Auvers-sur-Oise. Now: 1872-3, CR133+FWN81, Auvers-sur-Oise, house of the hanged man, 55×66, Orsay (iR2;iR59;iR194,no81;R189,no133;R90II,p21;R87,p235;R2,p120;R48,no136;R163,p46)
Paul Cézanne, 1IE-1874-43 Une moderne Olympia, esquisse. Now: 1873, CR225+FWN628, a modern Olympia, 46×55, Orsay (iR2;iR59;iR194,no81;R189,no133;R90II,p21;R2,p120;R48,no136;R163,p46)
Paul Cézanne, 1IE-1874-44, Étude, Paysage à Auvers. Option 2: 1873, CR157, Quartier Four, à Auvers, 46×55, Philadelphia MA (iR2;iR59;R2,p126;R90II,p21;R87,p235;R48,no148)
Gustave Colin, 18xx, Young woman sitting, 82×65, MBA Pau (aR16=M170;iR23;iRx;R2,p120) Compare: 1IE-1874-45, Haurra-Maria.
Gustave Colin, 18xx, Landscape in Normandy, 26×35, A2009/11/18 (iR13;iR18;iR1) Maybe?: S1859-666, Une ferme à Saint-Léonard, près de Fécamp (Seine-Inférieure); 1IE-1874-46, La Maison du charpentier.
Gustave Colin, 18xx, Paysage à la mare sous un ciel orageux (Landscape at the pond under a stormy sky), 23×42, A2016/04/24 (iR10;iR12;iR46;R2,p120). Compare: 1IE-1874-47, L’étang aux poules d’eau.
Gustave Colin, 1870ca, Bringing home the catch, ?cm, Axx (iR310;iR10) Maybe?: S1870-608, Conchita; 1IE-1874-48, Marchandes de poissons de Fontarabie (Espagne).
Gustave Colin, 1869, The castle at the entrance of the harbour of Pasajes, 90×118, MBA Pau (iR23;iR1;R2,P120). Probably: S1869-517, Le Castillo à Pasages. Maybe: S1868-554 = 1IE-1874-49, Entrée du port de Pasages (Espagne).
Edgar Degas, 1IE-1874-54, Examen de danse au théâtre, appartient à M. Faure. Compare: Composed painting (R2,p120;R90II,p7;R90I,p34/35)
Edgar Degas: 1IE-1874-55, Classe de dance; appartient à M. Brandon = 1870-72ca, CR297, The Dancing Class (Le Foyer), 20×27, Metropolitan (iR2;iR59;R90II,p7+22;R2,p120;R90I,p29+37;R26,no296;R47,p50;M23)
Edgar Degas, 1878ca, CR488, Dancer in green (in the wings), pastel, 46×30, New Orleans MA (iR377;R26,no522;R2,p120;R90II,p7) Compare: 1IE-1874-56, Intérieur de coulisse; appartient à M. Rouart
Edgar Degas: 1IE-1874-57, Blanchisseuse; appartient à M. Brandon. Compare: 1873ca, CR329, La blanchisseuse, 25×19, NSM Passadena (iR10;iR335;iR90;iR22;R26,no367;R2,p120R114,no329;M43) Part of the Dr. de Bellio collection probably from 1876-1894.
Edgar Degas, 1IE-1874-59, Faux depart, dessin =?? 1869-72, CR262, Le défilé (Racehorses in front of the stands), thinned oil, 46×61, Orsay (iR10;iR64;iR2;iR23;R26,no194;R90II,p7;R2,p120;M1)
Edgar Degas, 1873-74, CR340, Salle de danse (ballet rehearsal on stage), grisaille, 65×81, Orsay (iR2;iR59;iR23;R26,no470;R90II,p7+22;R90I,p37;M1) =? 1IE-1874-60, Répétition de ballet sur la scène, dessin; appartient à M. Mulbacher. Probably not: 2IE-1876-44, Salle de danse (R2,p174;R90II,p35)
Edgar Degas, 1898-1900ca (1870-86ca), CR277, Woman Ironing, pastel+drawing, 71×48, A2021/11/11 (iR2;iR15;iR10;iR13;R26,no365;R2,p120) =? 1IE-1874-61, Une blanchisseuse, pastel; appartient à M. Brandon
Edgar Degas, 1IE-1874-62, après le bain, étude, dessin =? 1875-76ca, CR376, Women Combing Their Hair, thinned oil, 32×46, PC Washington (iR2;R26,no397;R90II,p7;R2,p120;M29)
Edgar Degas, 1IE-1874-63, Aux courses en province = 1872ca, CR281, At the Races in the Countryside, 37×56, MFA Boston (iR2;iR59;R114,no281;R26,no203;R90II,p7+22;R2,p120+127;M22)
Armand Guillaumin, 1IE-1874-64, Le Soir, paysage =!? 1873ca, CR20, Sunset at Ivry (Soleil couchant à Ivry), 65×81, Orsay (iR2;R3,p109;R2,p120;R90I,p30;R90II,p8+22;R87,p238+267;R124,no20;M1). Note: often suggested for 1IE-1874-66, Soleil couchant à Ivry.
Armand Guillaumin, 1IE-1874-65, Temps pluvieux, paysage =?? 1871ca, CR10, The Seine at Paris (Quai de la Rapée), 126×181, MFA Houston (iR2;iR10;R2,p120+128;R8,p14;R90II,p8;R124,no10;M163)
Armand Guillaumin, 1IE-1874-66, Soleil couchant à Ivry =? 1869ca, CR-, La Seine à Ivry, on wood, 31×40, PP Geneva (iR6;iR10;iR42;R2,p120;R94,p50;R179,G3;M144) = former Gachet collection
Ludovic Lepic, 1IE-1874-74, L’Arrivée de la marée à Cayeux, aquarelle =?? 1871, Sur la plage après la tempête (Bords de mer, plage à marée basse), wc gouache, 28×39, A2019/03/27 (iR17;iR13;R2,p162;R90II,p8)
Ludovic Lepic, 1IE-1874-75, La pêche, étude en pleine mer, aquarelle =?? 18xx, Seascape at Beach, Fishing Boats Returning under a Late Afternoon Light, wc?, ?cm, xx (iR94;R2,p121;R90II,p8)
Ludovic Lepic, 1IE-1874-76, Golfe de Naples, aquarelle + 2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle). Compare: 1862, La baie de Naples par temps clair, 94×128, A1997/12/05 (iR13;R2,p121+162;R90II,p8;iR1) Compare: S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel; aquarelle
Ludovic Lepic, 1IE-1874-77, Le départ pour la pêche du hareng, aquarelle. Compare: 1878-79ca, Le départ pour la pêche à Berck (Marée haute), xx, MBA Valenciennes (iR2;R87,p239;iR6;M201;R90II,p8) Expo 2013
Ludovic Lepic, 1IE-1874-78, L’Escalier du château d’Aix en Savoie = 1863, The staircase of the castle of Aix en Savoie, etch, 41×38, BNF Paris (R90II,p23+8;R2,p121) =!? intérieur de château (R85IX,p143,no3;iR26)
Ludovic Lepic, 1IE-1874-79, César, portrait de chien, eau-forte, =1861, César (le chien à la cravache), etch, 32×24, BNF Paris (iR313;iR35;iR6;iR40;R90II,p8+23;R87,p240;aR3,p89;R85IX,p143,no1)
Stanislas Lépine: 1876-82ca, Canal Saint-Denis, 39×56, A2011/02/09 (iR14;iR11;R2,p121) =?? 1IE-1874-81, Le Canal Saint-Denis; appartient à M. Sporck
Stanislas Lépine: 18xx, Montmartre, la rue Cortot, 55×38, A2011/10/12 (iR11;iR15;R2,p121) =?? 1IE-1874-82, La rue Cortot; appartient à M. Brullé
Stanislas Lépine: 1IE-1874-83, Bords de la Seine; appartient à M.M… =!? 1869, SDbr, Banks of the Seine (paysage), 30×59, Orsay (iR10;R2,p129;R90II,p8+23;R90I,p30;R87,p240;R3,p68;R21,p110;M1)
Detaille, Édouard (1848-1912): 1855-1870, Lancier de la Garde impériale en grande tenue, xx, xx (iR4;iR10;R87,p267;R90I,p30;R2,p123) Compare: Comtesse de Luchaire: 1IE-1874-hc, Lieutenant de Lanciers.
Auguste de Molins, 1874, Rendez-vous in the Bois de Boulogne, 35×55, private Lausanne (iR10;iR48;R90II,p9+23). Maybe: 1IE-1874-92, The coming storm.
Auguste de Molins, 1874, Chasse à courre, 34×54, A2011/10/26 (iR11;iR13;iR15;iR4;R2,p121;R88I,p538). Maybe?: 1IE-1874-93, Rendez-vouw de chasse.
Auguste de Molins, 1874, Before the hunt, 36×56, 2011/12/16 (iR13;iR11;iR10;M2,p121). Compare: 1IE-1874-94, Relai de chiens.
Auguste de Molins,1873, Chantilly, 34×55, A2007/11/29 (iR11;iR14;iR13;iR41;R2,p121). Maybe??: 1IE-1874-94bis, Rendez-vous de chasse.
Claude Monet, 1IE-1874-95, Coquelicots = CR274, 1873, Poppies at Argenteuil, 50×65, Orsay (iRx;R87,p243;R2,p121;R90II,p24;R22+R127,CR274;M1,RF1676)
Claude Monet, 1IE-1874-96, Le Havre, Bateaux de pêche sortant du port = CR296, 1874, Fishing Boats Leaving the Port of Le Havre, 60×101, Los Angeles CMA (iRx;R2,p121;R90II,p24;R22+R127,CR296;M49)
Claude Monet, 1IE-1874-97, Boulevard des Capucines = CR292, 1873, 61×80, Pushkin (iRx;R2,p121;R90II,p24;R22+R127,CR292;M96,no3397)
Claude Monet, 1IE-1874-98, Impression, soleil levant = 1872-73, CR263, Le Havre, Impression, soleil levant, 48×63, Marmottan (iR2;R87,p243;R2,p92;R90II,p24;R22+R127,CR263;M2,no4014) =4IE-1879-146, Effet de brouillard, Impression
Claude Monet, 1IE-1874-99 Deux croquis (pastel). Maybe??: 1864-66 ca, Landscape with Houses, 17×36, Metropolitan (iRx;R2,p121;M23)
Claude Monet, 1IE-1874-99, Deux croquis, pastel. Maybe??: 1864-66 ca., Broad landscape, 17×36, MFA Boston (iRx;R2,p121;M22)
Claude Monet, 1IE-1874-100 Deux croquis (pastel). Maybe??: 1865-70ca, Sunset on the Plain, 21×32, private (iR2;R2,p121)
Claude Monet, 1IE-1874-100, Deux croquis (pastel). Maybe??: 1865ca, Twilight, 19×31, MBA Nantes (iR2;R2,p121;M16)
Claude Monet, 1IE-1874-101, Deux croquis (pastel). Maybe??: 1862-64ca, Sunset over the Sea, 17×33, Ashmolean Oxford (iR2;R2,p121;M66)
Claude Monet, 1IE-1874-101 Deux croquis (pastel). Maybe??: 1862-64ca, View of the Sea at Sunset, 15×40, MFA Boston (iR2;R2,p121;M22)
Claude Monet, 1IE-1874-102, Un croquis (pastel). Maybe??: 1868ca, Caloges and Boat at Étretat (or: près d’Étretat), 21×41, IMJ Jerusalem (iR2;R2,p121;M130)
Claude Monet, 1IE-1874-103, Déjeuner = S1870-R =1868, CR132, The luncheon, 230×150, Städel Frankfurt (iR51;R87,p243;R2,p121;R90II,p24;R22+R127,CR132;R21,no39;M54,no170)
Berthe Morisot, 1IE-1874-104, Le berceau. Now: 1872, CR25, The Cradle, 56×46, Orsay (iR2;R2,p131;R90II,p10;R3,p89)
Berthe Morisot, 1IE-1874-105, La lecture. =1873, CR14, Reading (The Green Umbrella; Edma seated on the grass), 46×72, Cleveland MA (Mx;iR2;R90II,p10)
Berthe Morisot, 1IE-1874-107, Marine. Option: 1869, CR17, The Harbor at Lorient, 44×73, NGA Washington (iR2;R2,p134;R42,p9) Manet collection.
Berthe Morisot, 1IE-1874-108, Portrait de Mademoiselle M.T. (=Madeleine Thomas; pastel). Now: 1873ca, CR426, Young Girl with a Parrot, pastel, 60×50, NY private (iR2;R2,p135;R90II,p10)
Berthe Morisot, 1IE-1874-109, Un village. Now: 1873, CR424, The Village of Maurecourt, pastel, 47×72, private NY (iR10;iR135;iR2;R2,p136;R90II,p10)
Berthe Morisot, 1IE-1874-110, Sur la falaise (aquarelle). Now: 1873, CR622, On the cliff, wc, 18×23, Orsay (iR10;iR166;iR59;R2,p122;R90II,p10)
Berthe Morisot, 1IE-1874-111, Dans le bois, aquarelle =1872, CR620, Young woman and child on a bench, wc, 33×23, Orsay (iR6;iR23;R90II,p10)
Berthe Morisot, 1IE-1874-112, … (no name; aquarelle). Perhaps: 1871, CR615, Woman and Child Seated in a Meadow, wc, 21×24, private (iR2;R2,p122;R90II,p10)
Berthe Morisot, S1872-1142, Portrait de Mlle E. P… ; pastel. Maybe: 1871, CR419, Portrait of Madame Edma Pontillon, pastel, 81×64, Orsay (iR10;iR92;iR2;iR1;R42,p17;R3,p88;R90I,p11;R100,p51). Probably also exhibited as 1IE-1874-112+hc.
Giuseppe de Nittis, 1IE-1874-116, Lever de lune, Véusuve Compare: 18xx, Sunrise on Vesuvius, on panel, 14×23, A2008/11/08 (iR13;iR10;R2,p122)
Giuseppe de Nittis, 1IE-1874-117, Campagne du Vésuve =?? 1873, CR437, SDbr, Return from Mount Vesuvius, on board, 19×32, A2009/06/09 (HW;iR14;iR11;R277,no437;R2,p122)
Giuseppe de Nittis, 1IE-1874-118-1, études de femme =?? 18xx, Portrait of a young woman (Testa di donna con frangetta), 61×46, A2001/06/06 (iR13;iR11;R2,p122)
Giuseppe de Nittis, 1IE-1874-118-2, études de femme =?? 18xx, Testa femminile di profilo, con cappellino (Female head in profile, with cap), 55×46, A2016/04/25 (iR11;iR10;R2,p122)
Giuseppe de Nittis, 1IE-1874-118-3, études de femme =?? 18xx, Léontine (de Nittis), on panel, 41×27, A2010/11/16 (iR14;iR11;R2,p122)
Giuseppe de Nittis, 1IE-1874-118bis, Route en Italie =?? 1870, CR281, Along the Ofanto river, 43×65, PGdN Barletta (iR6;iR2;iR35;R2,p122;R277,no281) =? Venice1914-7, On the banks of the Ofanto (Florence) (aR5=iR261)
Auguste-Louis-Marie Ottin: 1859-66, Galatea dans le bras de Acis, marble, xx, Jardin du Luxembourg Paris (iR6;iR10;iR125;iR4;iR1;R2,p122) =S1859-p531, Acis et Galathée; groupe, marbre. Compare: 1IE-1874-120, Acis et Galathée, réductions en bronze.
Auguste-Louis-Marie Ottin: 1863-66, Pan (jeune faune), stone, xx, Jardin du Luxembourg Paris (iR6;iR3;iR1;R2,p122) =S1866-p465, Jeune faune; statue, pierre. Compare: 1IE-1874-121, Jeune Faune, réduction en bronze.
Auguste-Louis-Marie Ottin: 1863-66, Diane (chasseresse), stone, xx, Jardin du Luxembourg Paris (iR6;iR1;R2,p122) = S1866-p465, Jeune chasseresse; statue, pierre. Compare: 1IE-1874-122, Nymphe chasseresse, réduction en bronze
Auguste-Louis-Marie Ottin: 1861, Jeune fille tenant un vase, marbre, 115x31x26, MSC Poitiers (iR10;iR126;iR1;R2,p122;R90II,p11) =S1861-3532, Jeune fille tenant un vase; statue, marbre. Compare: 1IE-1874-123, Jeune femme portant un vase, terre cuite.
Auguste-Louis-Marie Ottin: 1850ca, Buste of Charles Fourier, marble, xx, KhI Florence (iR120;iR10;iR1;R2,p122). =!? S1850-3548. Cheminée monumentale destinée à un Palais de Florence/ Buste de Charles Fourrier. Compare: 1IE-1874-125, Buste, terre cuite.
Auguste-Louis-Marie Ottin: 1855ca, Buste de Ingres, marble, xx, Ecole des Beaux-Arts Paris (iR10;iR1;R2,p122;R90II,p26+11;M9). =!? EU=S1855-4522, Portrait de M. Ingres; buste, marbre =!? S1868-3782, J. P. D. Ingres; buste, marbre; (Pour l’Institut). Compare: 1IE-1874-126, Buste de Ingres, réduction en plâtre + S1842-1996, Buste de M. Ingres; bronze.
Auguste-Louis-Marie Ottin: 1863ca, Bust of Mgr. de Belsunce, bronze, xx, MdH Marseille (iR6;iR10;iR48;iR125;iR1;R2,p211;R90II,p11) =? S1863-2512, Portrait de Monseigneur de Belsunce; buste, bronze. Compare: 1IE-1874-128, Buste de M. B***, terre cuite
Camille Pissarro, 1IE-1874-136, Le verger = 1873, CCP294, The Cabbage Field, Pontoise, 60×80, MTB Madrid (iR10;iR135;iR2,R116,no294;R126,no230;R2,p122;R87,p265;M100)
Camille Pissarro, 1IE-1874-138, Les châtaigniers à Osny = 1873ca, CCP313, Chestnut Trees at Osny, 65×81, private (iR10;iR6;iR2;iR59;R2,p139;R116,no313;R126,no236;R87,p249;R90II,p27)
Camille Pissarro, 1IE-1874-139, Jardin de la ville de Pontoise. Probably: 1873, CCP309, The Municipal Garden, Pontoise, 60×73, Hermitage (iR10;iR94;iR2;iR59;R116,no309;R126,no231;R2,p122;M95)
Camille Pissarro: 1IE-1874-140, Une Matinée du mois de juin = 1873, CCP312, Morning in June, Saint-Ouen-l’Aumône, 55×91, SKh Karlsruhe (iR10;iR2;iR59;R116,no312;R126,no224;R87,p250;R90II,p27;R2,p122;M57,no2539) =Pau-1877-358
August Renoir, 1IE-1874-141, Danseuse. Now: 1874, CR110, The Dancer, 142×94, NGA Washington (iRx;R87,p251;R2,p140;R90II,p12+27;R108,CR110;R30,no126;R31,p197;M21,no1942.9.72)
August Renoir, 1IE-1874-142, La Loge. Now: 1874, CR116, The theater box, 80x64cm, Courtauld London (iR2;R87,p251;R2,p107;R90II,p12+28;R108,CR116;R30,no125;R31,no26;M60)
August Renoir, 1IE-1874-144, Moissonneurs. Probably: 1873, The Harvesters, 60×73, Bührle Zurich (iR2;R90II,p12+28;R2,p122;R30,no100;R87,p266;R90I,p29;M85)
August Renoir, 1IE-1874-145, fleurs. Probably: 1869, Mixed flowers in an earthen pot, 65×54, MFA Boston (iR52;R90II,p12+28;R87,p251;R2,p122;R30,no36;R31,no14;M22,no48.592)
August Renoir, 1IE-1874-146, Croquis (pastel). Maybe??: 1868-70, Portrait d’une jeune femme, pastel, 44×36, A2012/05/15 (iR11;R2,p122)
August Renoir, 1IE-1874-147, Tête de femme. Now: 1874, CR118, Head of a woman, 32×24, private (R87,p251;R90II,p28;R2,p122;R108,CR118;R30,no140;R15,p200)
Henri Rouart, 1885ca, Sbr, Landscape with Farm, Brittany, 66×92, private Gallery London (iR13). Compare: 1IE-1874-148, Ferme bretonne; 2IE-1876-229, Vieille ferme bretonne (étude); 3IE-1877-207, Ferme Bretonne; S1869-2069, Chaumière au milieu des arbres, en Bretagne; 6IE-1881-129, Chaumières bretonnes.
Henri Rouart, 18xx, Sbr, The orchard and the village of La Queue-en-Brie, 50×60, private (R92,no13;R90I,p35). Compare: 1IE-1874-151, village.
Henri Rouart, 18xx, La forêt, 60×73, A2010/04/21 (aR12;aR11;aR13;aR14;R2,p122) Maybe: 1IE-1874-152, Forêt.
Henri Rouart, 18xx, Sbr, The apple trees at La Queue-en-Brie (Chemin de la Pompe), 21×35, A2020/12/19 (aR38;iR11;iR10;R2,p122). Compare: 1IE-1874-153, Route bretonne.
Henri Rouart, 18xx, xx (Farm, hillside, field) etch, xx, Nm Warsaw (aR20). Compare: 1IE-1874-153, Route bretonne; 154, idem (aquarelle); 155+156, Maisons béarnaises , aquarelle; 157+158, Eau-forte.
Henri Rouart: 1891ca (1879-1901ca), View on the lighthouse of Collioure, etch, ?cm, xx (aR20;R2,p122+314). Compare: 1IE-1874-157+158, Eau-forte. Compare: 6IE-1881-131, Port d’Antibes
Henri Rouart, 18xx, xx (Two people in a wood), etch, xx, Nm Warsaw (aR20;R2,p122). Maybe: 1IE-1874-157+158, Eau-forte
Alfred Sisley: 1IE-1874-161, Route de Saint-Germain; appartient à M. Durand-Ruel =!? CR43, 1872, The Route from Saint-Germain to Marly, 46×61, McNay San Antonio (iR2;R2,p123;R90II,p28;R129,CR43;M154,no.1955.2)
Alfred Sisley, 1IE-1874-162, Île de la Loge. Now: 1872, CR21, Ferry to the Île-de-la-Loge, Flood, 46×61, NCG Copenhagen (iR10;iR6;iR2;iR59;R166,p114;R87,p254;R90II,p29;R2,p123;R129,CR21;M90,no1752)
Alfred Sisley, 1IE-1874-163, La Seine à Port-Marly. Maybe: 1873, CR72, The Seine at Port-Marly, 50×65, private (iR10;iR94;R116II,p189;R166,p48;R2,p123;R129,CR72)
Alfred Sisley, 1IE-1874-164, Le Verger =1873, CR82, Le Verger, 50×73, private Paris (R90II,p29+13;R87,p254;R2,p123;R129,CR82)
Alfred Sisley, 1IE-1874-165, Port-Marly, soirée d’hiver. Maybe(?): 1872, CR45, The Seine at Bougival in Winter (Gelée Blanche, Port-Marly), 47×66, PBA Lille (iR2;iR4;iR10;iR94;R2,p123;R129,CR45;M17).
Alfred Sisley, 1IE-1874-165+hc, L’Automne, bords de la Seine près Bougival. Now: 1873, CR94, Autumn, Banks of the Seine near Bougival, 46×62, Montreal MFA (iR10;iR2;R90II,p29;R2,p142;R129,CR94;M110,no.45.924)
Clarification: On this page you find 169 suggestions for the about 225 art-works that were exhibited at the 1st ‘impressionist’ exposition in 1874. Note 1: the given suggestions vary from certain (=!), to almost certain (=?!), to uncertain (=?), to very uncertain (=??), to most uncertain (=???), to compare (=compare:) with another work of the artist, to compare with a similar work from another artist or even a photo. Sometimes (56x) I have no suggestion at all, namely for no.1 +3-2 +3-3 +3-4 +4-2 +4-3 +5 +6 (Astruc); 7 +8 +10 +11 +12 (Attendu); 13 + 14 + 15 + 16 (Béliard); 33 + 34 + 35b (Bureau); 50 +51 +52 +53 (Debras); no.58 (Degas); 67 + 68 +69 +70 (Latouche); 84 +85 +86 (Levert); 87 +88 +89 +91bis (Meyer); 113 +114 (Mulot-Durivage); no.115 (de Nittis); 119 +124 +127 (Auguste Ottin); 129 +130 +131 +132 +133 +134 +135 (Léon Ottin); 149 +150 +154 +156 (Rouart); 159 +160-1 +160-2 (Robert). Helas, of several options I could only find a picture in black and white, namely no.37+41 of Cals; no.90+91 of Meyer and no.147 of Rouart. The works I render to compare that are quite insufficient are: no.32 of Brandon; no.45 of Colin; no.54 of Degas; no.153 of Rouart and the hc picture by Comtesse de Luchaire. See the accounts of the partaking artists. See link for an explanation of the subscriptions. Note 2: More accurate and extended suggestions will follow. Additional pictures will be added.
Recommanded citation: “Impressionism, a historical reconstruction: Slideshow of the 1st ‘impressionist’ exposition in 1874. Last modified 2023/09/27. https://www.impressionism.nl/1874-expo-slideshow/.”
