Auguste Renoir: 1872, SDbl, 1F76, Le Pont-Neuf, 75×94, NGA Washington (iR6;iR8;iR40;iR19;R31,no21;R30=R193,no76;R190,no74;R185,no118;R460,no12;M21) Provenance: HD1875/03/24-42, Le Pont-Neuf (73×92) ->300fr Durand-Ruel (on behalf of Hazard); GP1919/12/01-206, Hazard sale -> 100.000fr.
Introduction:
1875/03/24 there was an auction held at Hôtel Drouot called ‘Tableaux et aquarelles par Cl. Monet, B. Morisot, A. Renoir, A. Sisley‘ (=HD1875/03/24). Initiated by Renoir the Impressionists tried their luck and offered 73 works for sale. Which works did they sell? For what prices? To whom? On this page you will find extended info and the pictures. You can also created a slideshow↓.
Hôtel Drouot:
Apart from the Salon and their own ‘impressionist’ expositions, auction sales were a way to promote oneself for the impressionists as an artist and to sell art-works. The most used place to do so, was Hôtel Drouot. Hôtel Drouot was an auction house owned by the state (R3;R5,p102). The sales here gave a good indication of what a work was worth on the art-market (R5,p102).
Claude Monet: 1874ca, CR294, Sbl, Bassin du Commerce in the Port of Le Havre, 37×45, MAM Liège (iR6;iR10;iR40;R22,no294;M83) Provenance: =HD1875/03/24-3 ->Henri Rouart (200fr); Eugène Dumont. Expo: Brussels-MRBA-MI-1922-23.
Auguste Renoir: 1872-74ca, Sbr, 1F94=2CR119, Quai Malaquais, 38×46, A2002/06/21 (iR6;iR10;R30=R193,no70+94;R190,no90;R185,no119;R460,no25;R88II,p451) Provenance: =? HD1875/03/24-37, Vue de Paris (Institut; 38×46) -> Léon Monet (70fr); Depeaux; sale HD1901/04/25 -> Viau (6.000fr); Viau sale DR1907/03/04-65 (7650fr). Location: in the distance the Pont du Caroussel.
The presented works:
The catalogue indicates that the impressionists presented in total 73* works (=HD1874/03/24-1, 2, …73) (aR1). Monet showed 20 paintings (catalogue no.1-20), Morisot 12 (21-32), Renoir 20 (33-52) and Sisley 21 (53-73). Morisot showed 5 paintings, 3 pastels and 4 aquarelles (aR1). Several sources render suggestions for the presented works**, but many stay uncertain. Lower at this page I render an impression of 65 of these works, including (very) uncertain suggestions and works to compare.
Note*: Wildenstein wrongly writes about 163 works (R22I,p117). Note**: Some suggestions are (probably) not right. Rewald (R1,p354) suggests that Renoir presented his Pont des Arts (1F27; M43), but this work was bought by Durand-Ruel in 1872 (and exhibited in London) and the measures (62×102) don’t fit no.37 (or 52) from the auction catalogue. Christopher Riopelle suggests ‘L’Institut au Quai Malaquais’, 46x56cm, 2CR120 (R460,p150; iR6) for no.37, Vue de Paris (Institut; 38×46) ; but the measures don’t fit; so I suggest another view on the Quai Malaquais; still 2CR120 shows L’Institut as indicated in the auction catalogue and it was bought by Léon Monet (for 70fr) (R1,p354;R460,p150).
Berthe Morisot: 1874, 1+2CR38, Sbr, In a villa at the seaside, 51×61, NSM Pasadena (iR2;iR6;R42,p25;R100,no38;R186,no38;R1,p354;R88II,p451;M43) Provenance: HD1875/03/24-21, Châlet au bord de la mer (51x61cm) -> Rouart (230fr); Hoschedé; Degas; sale 1918/03/26-83. Expo: DR1896-124. Location: Fécamp.
Auguste Renoir: 1872ca (1879ca), Sbr, 1F77=395, High wind (The Gust of Wind), 52×82, FM Cambridge (iR10;iR64;iR40;R31,no25;R30=R193,no395+77;R190,no75;R460,no13;R88II,p451;M32) Provenance: HD1875/03/24-36, Grand vent (Paysage; 52×81)-> Auguste de Molins (55fr); 1899: Durand-Ruel; 1908: Alphonse Kann; Expo: Zurich-1917-165. Info: painted en-plein-air within one session.
The results:
The sales were relatively poor. The net result was 11.441fr*. This is including the works bought back by the artists↓. This makes an average of 158,90* franc per art-work. The highest price was 480fr paid by Hoschedé for a work of Morisot (no.22). Monet received a total of 4.615fr* for 20 paintings, with prices between 95 and 325fr and an average of 230,75fr. Wildenstein mentions a total result of 2.825fr (R22I,p117), but this excluded the works that were bought back↓ by Monet, a total of 1.140fr and probably also the commission he had to pay to the auction house. Still, this would have been a commission of 57% which seems very high. Morisot received the highest price of 480fr paid by Hoschedé. She received for her 5 paintings 1245fr (average 249fr); for her 3 pastels 675 (average 225fr); for her 4 aquarelles 200fr (average 50fr); so a total of 2.120fr (average 176,67fr) for 12 art-works. Maybe indirectly she bought back 3 works for 655fr. Renoir received a total of 2.251fr for 20 paintings, including 300fr for no.42 (the highest price) with a low average of 112,55fr.; 10 of his paintings were sold for less than 100fr. He bought back two works for 175fr.
There are no data that no.72 was sold; maybe Sisley had withdrawn it. So 20** works were sold for the total of 2.455fr, with prices between 50 and 300fr and an average of only 122,75 francs*; 5 of his paintings were sold for less than 100fr. He bought back 1 painting for 60fr.
There was not much correlation between the prices paid and the size of the paintings. The 4 aquarelles of Morisot were sold for low prices (50fr average), but her pastels went for quite high prices (225fr average).
Note*: the numbers given by Rewald are slightly different: overall sales of about 11.500fr, with an average of 157,53; total for Monet 4.665fr with an average of 233; total for Sisley of 2.500fr; (R1,p354;R5,p90). Cahn mentions an average for Sisley of 127fr (R166,p264) Note**: some sources mention (wrongly) that Sisley presented 20 works and that 19 were sold (R166,p264;R396,p24); the catalogue renders 21 entries and no.72 isn’t mentioned in the sales rendered by Monneret (R88II,p451/2). Note***: Godfroy doesn’t mention these purchases and writes that Durand-Ruel purchased just 1 painting of Sisley in 1875 (R166,p37). Probably some works Durand-Ruel bought on behalf of others.
Claude Monet: 3IE-1877-115, Intérieur d’appartement; appartient à M.G.C. = CR365, 1875, SDbl, A corner of the appartement, 80×60, Orsay (iR2;iR40;R22=R127,no365;R2,p228;R90II,p96;M1,RF2776) Provenance: HD1875/03/24-14, un coin d’appartement (81x60cm) -> bought back by Monet for 325fr; 1876 Caillebotte; 1894 bequest -> 1896 Musée du Luxembourg. Expos: =GP-6EIPS-1887-72; =? DR-1899-4;
Claude Monet: 1873ca, CR260, Sbl, Ships under repair, 71×54, NGS Edinburgh (iR10;iR94;iR6;iR7;iR40;M63;R22,no260) Provenance: HD1875/03/24-17, Navires en réparation (71x54cm) -> bought back for 190fr; Berthe Morisot. Location: Le Havre.
Auguste Renoir: 1875, Sbr, 1F166, The Source, 131×78, Barnes (iR6;R108,no124;R30+R193,no166;R190,no162;R185,no369;M25) Provenance: HD1875/03/24-45, La source (130×77), withdrawn by bidding of 110fr; Duret; 1889/04/29 Durand-Ruel (first on deposit); 1906/02/03 Prince de Wagram; Expo: SdA1904-16; London-GG-1905-222.
Works bought back: Monet, Morisot, Renoir and Sisley bought back several of the works they offered to be sold. (R1,p354;R88II,p451/2) Claude Monet bought back no.14 for 325fr and the unidentified no.20 for 180fr. His brother Léon bought no.1 for 255fr, no.6 for 190fr, no.17 for 190fr. (R88II,p451/2) But the Catalogue Raisonné of Wildenstein makes clear that these works Léon bought, didn’t stay in his possession (R22IV,p1051), they are mentioned as being bought back by Claude Monet himself (R22,CR260+328+341). So, probably Léon bought them back on behalf of his brother. In total Claude and Léon paid 1.140fr, excluding commission for the auction house.
According to Rewald, the husband of Berthe Morisot, Eugène Manet, bought back some works, this is affirmed by Monneret (R1,p354;R88II,p452). But, in the information on the purchasers that Monneret profides, the name of Eugène Manet doesn’t appear. Her brother-in-law Gustave Manet bought no.25 and no.27 and her cousin Gabriel Thomas bought no.26 (R88II,p451/2). It is possible they did so on behalf of Berthe and/or Eugène. Renoir bought back no.34 (for 65fr) and no.45 (La Source for 110fr). Sisley bought back no.62 for 60fr.
Claude Monet: 4IE-1879-158, Les Charbonniers (1875), appartient à M. Hayem = CR364, 1875ca, Sbr, The Coal-Dockers, 55×66, Orsay (iR2;iR23;R22+R127,CR364;R2,p269;R90II,p135;M1,RF1993.21) Provenance: HD1875/03/24-16, Les Charbonniers (55×65) -> Hecht (255fr); Hayem (1879ca); …; Victor Desfossés (1894), sale DR1899/04/26-47; Durand-Ruel. Expo: =London-Grafton-1905-138. Location: Asnières road bridge with view on the Clichy bridge.
Alfred Sisley: 1875, SDbr, CR168=CCPP166, La maison de Sisley, Rue de la Princesse, Louveciennes, evening, 61×50, NAMA Kansas city (iR10;M42;R166,p118;R129,no168;R396,no166;R88II,p451) Provenance: HD1875/03/24-63, Route de la Princesse, soir (61×50) -> Durand-Ruel (130fr); Burke; 1899/04/04 Durand-Ruel; Expos: DR1899-13.
Chaos! This 1875/03/24 auction became an ‘indescribable mess’ (R166,p37). There were ‘wild scenes fueled by a hostile public’ (R5,p90). In an interview with Moncade (1904/10/15 called “Renoir et le Salon d’Automne”) Renoir later recalled: ‘The sale was a disaster. The fine art students even paraded by in single file to demonstrate against our painting, and the intervention of the city police was necassary. From that on, we had our defenders and, even better, our patrons.’ (R430,p54) Durand-Ruel also made such recordings (R1,p354).
Low prices?
The sales of this 1875/03/24 auction are presented by Durand-Ruel as a ‘fiasco, with many paintings fetching little more than the price of their (superb) frames’ (R460,p116;R1,p354). Denvir calls it ‘an almost complete failure’ (R5,p90). But, is this true?
At the 1st ‘impressionist’ exposition in 1874 these 4 Impressionists Monet, Morisot, Renoir and Sisley were bold enough to ask prices between 700 and 5.000fr for their paintings, see the catalogue. But, in those days most artists didn’t dare to ask 1.000fr or more for a painting; the average prices at sales varied from 317fr for younger and 452fr for older painters (R410,p223). In 1872 and 1873 Durand-Ruel payed 200fr for paintings of Sisley; for works of Monet he payed an average of 338fr in 1872 and 562fr in 1873. A week before the 1875/03/24 auction, Stanislas Lépine (1835-92) held a solo auction sale at Hôtel Drouot; 23 works were sold for 135 à 930 francs; in total 7.180 francs, averaging 312 francs (R88II,p452).
So, yes the average sale of this 1875 auction of 158,90 franc is (much) lower, but not dramaticly low. The net result of Monet of 2.825fr is more than a years wages, which was somewhere between 1.000 and 2.000fr a year. The total income of Monet that year was even 9.765fr. (see finances).
The lowest prices at this 1875 auction were 45fr for an aquarelle and 50fr for a painting. But, I assume that even ‘superb frames’ didn’t cost that much. This auction clearly wasn’t a great success, but to present it as an example of the hardships and the opposition the Impressionists had to endure, seems a bit exaggerated (see also myths on Impressionism).
Claude Monet: 1872-73, Sbl, CR262, Sunrise (seascape), 49×60, Getty Los Angeles (iR10;iR166;iR8;iR40;R22,no262;M31) Provenance: sale HD1875/03/24-8, Soleil levant (marine; 50x61cm) -> Rouart (75fr.); sale MJ1912/12/09-252. Expos: =?? 1IE-1874-98, Impression, soleil levant (R1,p339+316); =LE-PI-1904-92; =? Berlin-PC-1905-14.
Berthe Morisot: 1874, Sbl, 1CR36=2CR36, La Chasse aux Papillons (Chasing butterflies), 47×56, Orsay (iR6;R3,p123;R46,p23;R100,p26+no36;R186,no36;R88II,p451;R186,no32;M1) Provenance: HD1875/03/24-23, Les papillons (47×56) -> Duez (245fr); Durand-Ruel . Expos: DR1896-74; DR1902-47; London-GG-1905-166; MAD-1907-84.
The buyers:
In 1875/03/24 there was not much public (R396,p24).
The art-dealer Durand-Ruel bought the most (18) works, including 12 of Sisley, 4 of Monet and 2 of Renoir, with a total amount of 3.105fr. Henri Rouart bought 5 works (no.3+8+21+32+39).
Some buyers bought 3 works:
the Arosa brothers (no.4+59+61); the publisher Georges Charpentier (no.43+48+49 of Renoir); Chesnau (no.9+30+71); .
Some buyers bought 2 works: Auguste de Molins (no.36+46 of Renoir); Duez (no.23+31 of Morisot); Gustave Manet (no.25+27 of Morisot); Henri Hecht (no.16+44); Ernest Hoschedé (no.22+29 of Morisot); Léon Monet (no.37+40 of Renoir); (Gabriel) Thomas (no.26+47); Petitdidier, better known as the art-critic Emile Blémont (no.5+50); .
Several buyers bought just 1 work:
Billoux (no.56); Bolensi (?) (no.41); Mme Dallot (no.13); Dollfus (no.51); Dubourg (no.21); Arsène Houssaye (no33); Louis Latouche (no.19); Lecorf (?) (no.67); Daliphart (or de Liphart) (no.24); (Edouard) Manet (no.7); Perrier (no.52); du Salles (?) (no.35); Vacquerie (no.18); Vuibert (no.60). Hervilly has bought a work under a pseudonyme.
There is discussion if Victor Chocquet, Duret, Charles Ephrussi and Caillebotte also were among the buyers, though they were present. Sources: R88II,p451/2; R1,p354;R22I,p117;R4,p141;R3,p192.
The preface:
The writer and art-critic Philippe Burty (1830-90) had written the preface of the catalogue.
He wrote: ‘Lovers of art who attentively follow the modern movement remember the exhibition organized last year on the boulevard des Capucines by a group of artists systematically excluded from the Salon.’ He critisises the ‘monotony’ of the works at the Salon and the ‘doctrines, traditions and favouritism’ of it’s jury. The group he writes about is sometimes called ‘impressionnistes’ and sometimes ‘les intransigeants’. They render ’the effects of light, pairings of tone, shadows’ … ‘bathed in light’. Their works give ‘a real pleasure by the natural sensations they remind us of’. They are like ‘little fragments of the mirror of universal life’. They reflect ’the swift, colourful, subtle and charming things’, that well deserve our attention. Sources: aR1;R1,p351+354;R3,p192.
What works did Renoir, Monet, Morisot and Sisley show at the auction at Hôtel Drouot 1875/03/24?
Here below you will find an extended impression of 65 of the 73 presented works (=HD1874/03/24-1, 2, …73). Several suggestions are (very) uncertain. Sometimes I render a compilation (to compare).
Note: 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!
Claude Monet: 1874ca, Sbl, CR328, Sunset on the Seine, 49×65, MA Philadelphia (iR51;R22,CR328;M28) Provenance: =HD1875/03/24, no.1 (bought back 255fr) or no.13 (bought by Dallot 190fr); 1881ca Durand-Ruel; 1883 Cassatt. Expo: =New York-NAD-1886-300.
Claude Monet: HD1875/03/24-2, Effet de neige (55×65) -> Durand-Ruel (300fr) (R88II,p451). Compare two landscapes with snow (R22,no351+355).
Claude Monet: 1874ca, CR294, Sbl, Bassin du Commerce in the Port of Le Havre, 37×45, MAM Liège (iR6;iR10;iR40;R22,no294;M83) Provenance: =HD1875/03/24-3 ->Henri Rouart (200fr); Eugène Dumont. Expo: Brussels-MRBA-MI-1922-23.
Claude Monet: HD1875/03/24-5, Printemps (55×65) -> M. Petitdidier (205fr) (R88II,p451). Compare: Two landscapes probably in Spring time (R22,CR276 +CR378).
Claude Monet: 2IE-1876-154, La prairie = CR341, 1874, SDbr, Meadow at Bezons, 57×80, NG Berlin (iR2;R2,p153;R90II,p57;R22=R127,CR341;R435II,p201;M52,no1146/AI1013) Provenance: =? HD1875/03/24-6, Paysage (60x81cm) (bought back 190fr); 1876ca Faure; 1906 Durand-Ruel. Expos: GP1889-22; DR1906-10.
Claude Monet: 1873ca, CR269, Sbr, La Seine à Asnières, 55×74, Hermitage (iR6;iR10;iR7;iR40;R22,no269;R88II,p451;M95) Provenance: =? HD1875/03/24-7 -> Manet (325fr); Victor Desfossés; sale 1899/04/26-45.
Claude Monet: 1872-73, Sbl, CR262, Sunrise (seascape), 49×60, Getty Los Angeles (iR10;iR166;iR8;iR40;R22,no262;M31) Provenance: sale HD1875/03/24-8, Soleil levant (marine; 50x61cm) -> Rouart (75fr.); sale MJ1912/12/09-252. Expos: =?? 1IE-1874-98, Impression, soleil levant (R1,p339+316); =LE-PI-1904-92; =? Berlin-PC-1905-14.
Claude Monet: 1874, SDbl, CR330, The Seine at Argenteuil, 54×65, A1988/11/11 (iR10;iR299;iR14;iR40;R22,no330;R88II,p452) Provenance: =??? HD1875/03/24-9, Bords de la Seine (55×65) -> Chesnau (95fr); Hermann.
Claude Monet: HD1875/03/24-10, Le dégel (Argenteuil) (56×63)-> Durand-Ruel (265fr) (R88II,p452). Compare: two landscapes depicting thaw (R22,CR255 + CR355).
Claude Monet: 1875ca, CR359, Sbl, The Boulevard de Pontoise at Argenteuil, snow effect, 60×81, Km Basel (iR51;iR40;R22,no359;R88II,p452;M145) Provenance: =?? HD1875/03/24-11, La neige (Argenteuil; 60×81) -> Durand-Ruel (265fr); 1891ca-98? Durand-Ruel.
Claude Monet: 1875, SDbr, CR366, Camille embroidering, 65×55, Barnes Merion (iR2;iR40;R22=R127,no366;R194,p97;M25,no197) Provenance: HD1875/03/24-12, La femme au métier (65×55) -> Debrousse (290fr).
Claude Monet: 3IE-1877-115, Intérieur d’appartement; appartient à M.G.C. = CR365, 1875, SDbl, A corner of the appartement, 80×60, Orsay (iR2;iR40;R22=R127,no365;R2,p228;R90II,p96;M1,RF2776) Provenance: HD1875/03/24-14, un coin d’appartement (81x60cm) -> bought back by Monet for 325fr; 1876 Caillebotte; 1894 bequest -> 1896 Musée du Luxembourg. Expos: =GP-6EIPS-1887-72; =? DR-1899-4;
Claude Monet: 4IE-1879-160, La mare, effet de neige, appartient à M. Durand Ruel =CR350, 1874-75, Sbl, The pond, snow effect, 60×81, MB Potsdam (iR10;iR64;iR15;iR8;R90II,p136;R2,p269;R22=R127,no350;R88II,p452;M268). Provenance: HD1875/03/24-15, La mare (effet de neige; 60×81) -> Durand-Ruel (250fr); 1893 Henri Vever, sale GP1897/02/01-85.
Claude Monet: 4IE-1879-158, Les Charbonniers (1875), appartient à M. Hayem = CR364, 1875ca, Sbr, The Coal-Dockers, 55×66, Orsay (iR2;iR23;R22+R127,CR364;R2,p269;R90II,p135;M1,RF1993.21) Provenance: HD1875/03/24-16, Les Charbonniers (55×65) -> Hecht (255fr); Hayem (1879ca); …; Victor Desfossés (1894), sale DR1899/04/26-47; Durand-Ruel. Expo: =London-Grafton-1905-138. Location: Asnières road bridge with view on the Clichy bridge.
Claude Monet: 1873ca, CR260, Sbl, Ships under repair, 71×54, NGS Edinburgh (iR10;iR94;iR6;iR7;iR40;M63;R22,no260) Provenance: HD1875/03/24-17, Navires en réparation (71x54cm) -> bought back for 190fr; Berthe Morisot. Location: Le Havre.
Claude Monet: 2IE-1876-148, Le petit bras, Argenteuil =? CR290, 1873, SDbr, Autumn effect at Argenteuil, 55×75, Courtauld London (M60,H.H.19;R22=R127,no290;R90I,p83;R2,p163;R88II,p452;iR40) Provenance: =??? HD1875/03/24-18, Paysage d’automne (55×74) -> Vacquerie (205fr); Oudard; 1882 Durand-Ruel; 1886 Davis, 1901 Durand-Ruel. Expo’s: =? London-EI-1882-1; =DR1883-7 or 50; =London-DD-SdI-1883-16; =? London-DG-ETI-1884-2; =New York-AAG+NAD-1886-282; =New York-ULC-1891-68.
Berthe Morisot: 1874, 1+2CR38, Sbr, In a villa at the seaside, 51×61, NSM Pasadena (iR2;iR6;R42,p25;R100,no38;R186,no38;R1,p354;R88II,p451;M43) Provenance: HD1875/03/24-21, Châlet au bord de la mer (51x61cm) -> Rouart (230fr); Hoschedé; Degas; sale 1918/03/26-83. Expo: DR1896-124. Location: Fécamp.
Berthe Morisot: S1870-2040, Jeune femme à sa fenêtre =1869, CR18, Edma Pontillon at a window, 55×46, NGA Washington (M21;iR2;iR6;iR1;R42,p7;R398,no8;R100,p24+no18;R186,no18;R88II,p451) Provenance: Edma Pontillon. Compare: HD1875/03/24-22, Intérieur (56×47) -> Hoschedé (480fr).
Berthe Morisot: 1874, Sbl, 1CR36=2CR36, La Chasse aux Papillons (Chasing butterflies), 47×56, Orsay (iR6;R3,p123;R46,p23;R100,p26+no36;R186,no36;R88II,p451;R186,no32;M1) Provenance: HD1875/03/24-23, Les papillons (47×56) -> Duez (245fr); Durand-Ruel . Expos: DR1896-74; DR1902-47; London-GG-1905-166; MAD-1907-84.
Berthe Morisot: 1IE-1874-105, La lecture =1873, Sbr, 1CR14, Reading (The Green Umbrella; Edma seated on the grass), 46×72, Cleveland MA (M27;iR2;R90I,p35+27;R90II,p25+10;R1,p325;R100,no14;R88II,p451) Provenance: =!? HD1875/03/24-24, La lecture (45×70) -> Daliphart (210fr); Expo: BJ1917.
Berthe Morisot: 1873, 1+2CR28, Sbr, The Beach at Petit-Dalles, 24×50, VMFA Richmond (iR2;R100,p25+no28;R186,no28;R88II,p452;M220) Provenance: =HD1875/03/24-25, Plage des Petites Dalles (22×48) -> Gustave Manet (80fr); Mlle de Jaegher;
Berthe Morisot: 1872, Sbl, CR422, Blanche Pontillon as a baby (born 1871), pastel, 33×25, xx (iR157;iR10;iR169;iR6;iR1;iR40;R100,p51+no422;R88II,p452) Expos: =? S1873-1090, Blanche; pastel. Compare: HD1875/03/24-26, Blanche (pastel) (61×51) -> Thomas (255fr).
Berthe Morisot: 1874, Sbr, 1CR427, On the lawn, pastel, 73×92, MPP Paris (iR10;iRx;iR2;R42,p27;R3,p108;R100,p51+no427;R88II,p452;M4) Provenance: =? HD1875/03/24-27, Sur l’herbe (70×90) -> Gustave Manet (320fr); Ephrussi; Expos: Compare: 8IE-1886-84, Enfants.
Berthe Morisot: 1874, Sbr (Manet), 1CR429, On the Beach at Fécamp, pastel, 38×60, Santa Barbara MA (iR6;iR40;R100,p52+no439;R2,p163;R88II,p452;M232) Provenance: =!? HD1875/03/24-28, Plage de Fécamp (pastel) (38×60) -> Houssaye (100fr). Expo: =??? 2IE-1876-182, Trois dessins au pastel.
Berthe Morisot: 1874 (1876), Sbl, 1CR623, La lisière du bois (à Maurecourt), wc, 20×26, G. Heim Basel (iR10;iR6;R100,p62;R88II,p452) Provenance: =!? HD1875/03/24-30, Lisière d’un bois (aquarelle) (48×64) -> Chesnau (45fr) (R88II,p452); Chocquet.
Berthe Morisot: 1874, Sbr, 1CR627, Woman and child sitting by the sea (Fécamp), wc, 12×16, private (iR6;R100,p62+no627;R88II,p452) Provenance: =!? HD1875/03/24-32, Sur la plage (aquarelle) (48×64) -> Rouart (60fr); sale MJ1912-267.
Auguste Renoir: 1872ca, Sbl, 1F74, Woman with umbrella seated in a garden, 46×38, A2008/12/01 (iR3;iR15;R108,no80;R30+R193,no74;R190,no72;R185,no295;R88II,p451) =HD1875/03/24-33, Femme assise (46×38) -> Arsène Houssaye 60fr).
Auguste Renoir: 1872-74ca, Sbr, 1F144, Après la tempête (After the storm), 47×56, A2018/06/19 (iR6;iR14;iR10;R30=R193,no144;R190,no139;R460,p116) Provenance: HD1875/03/24-34, Temps d’orage (Paysage; 46×55), bought back for 65fr; Durand-Ruel; Expo: =!? Bremen-1914-287; =Dresden-1914-100.
Auguste Renoir: 1874ca, Sbr, 1CR105=1F132, Woman with a black dog, 61×49, Yamagata MA (iR6;M128;R108,no105;R30=R193,no132;R190,no127;R31,no32;R88II,p451) Provenance: HD1875/03/24-35, Femme au chien noir (61×50) -> M. De la Salle (61fr); Picq; 1892/06 Durend-Ruel; 1901: Cassirer, Berlin.
Auguste Renoir: 1872ca (1879ca), Sbr, 1F77=395, High wind (The Gust of Wind), 52×82, FM Cambridge (iR10;iR64;iR40;R31,no25;R30=R193,no395+77;R190,no75;R460,no13;R88II,p451;M32) Provenance: HD1875/03/24-36, Grand vent (Paysage; 52×81)-> Auguste de Molins (55fr); 1899: Durand-Ruel; 1908: Alphonse Kann; Expo: Zurich-1917-165. Info: painted en-plein-air within one session.
Auguste Renoir: 1872-74ca, Sbr, 1F94=2CR119, Quai Malaquais, 38×46, A2002/06/21 (iR6;iR10;R30=R193,no70+94;R190,no90;R185,no119;R460,no25;R88II,p451) Provenance: =? HD1875/03/24-37, Vue de Paris (Institut; 38×46) -> Léon Monet (70fr); Depeaux; sale HD1901/04/25 -> Viau (6.000fr); Viau sale DR1907/03/04-65 (7650fr). Location: in the distance the Pont du Caroussel.
Auguste Renoir: 1874, Sbr, 1F98, Sailing boats at the Seine, Argenteuil, 50×65, Portland MA (Oregan) (iR10;iR6;iR40;R31,no29;R460,no23;R30,no98;R190,no94;R88II,p451) Provenance: HD1875/03/24-38, Bateau (Argenteuil; 50×65) -> Durand-Ruel (105fr) (till 1926). Expo: DR1908/05.
Auguste Renoir: 1874ca, Sbr, 1F134, Mme Henriëtte Henriot, 41×33, A2011/11/11 (iR6;iR15;iR40;R108,no108;R30+R193,no134;R190,no29;R185,no442;R88II,p452) Provenance: HD1875/03/24-39, Tête de femme (41×32) -> Henri Rouart (80fr); Edgar Degas; GP1918/03/26-88
Auguste Renoir: HD1875/03/24-41, Vase de fleurs (94×70) -> Bolensi (?) (180fr) (R88II,p452). Uncertain options: 1F93 +cp1F67 +1F267 (R30=R193).
Auguste Renoir: 1872, SDbl, 1F76, Le Pont-Neuf, 75×94, NGA Washington (iR6;iR8;iR40;iR19;R31,no21;R30=R193,no76;R190,no74;R185,no118;R460,no12;M21) Provenance: HD1875/03/24-42, Le Pont-Neuf (73×92) ->300fr Durand-Ruel (on behalf of Hazard); GP1919/12/01-206, Hazard sale -> 100.000fr.
Auguste Renoir: 1IE-1874-147, Tête de femme = 1874, Scl, 1CR118, Head of a woman, 32×24, private (R87,p251;R90II,p28;R2,p122;R108,CR118;R30,no140;R15,p200) =? HD1875/03/24-43, Tête de femme (32×24) -> Charpentier (85fr) (iR40;R88II,p452).
Auguste Renoir: 1875ca (1873ca), Sbr, 1F172, Before the bath, 82×63, Barnes Merion (iR6;M25;iR10;iR64;iR40;R174,p47;R108,no144;R30+R193,no172;R190,no168;R185;no602) Provenance: HD1875/03/24-44, Avant le bain (81×65); Henri Hecht; Duret; GP1894/03/19 -> Durand-Ruel; 1912/04/13 Barnes; Expo: DR1892-65; DR1912/02-2, Jeune Femme se coiffant.
Auguste Renoir: 1875, Sbr, 1F166, The Source, 131×78, Barnes (iR6;R108,no124;R30+R193,no166;R190,no162;R185,no369;M25) Provenance: HD1875/03/24-45, La source (130×77), withdrawn by bidding of 110fr; Duret; 1889/04/29 Durand-Ruel (first on deposit); 1906/02/03 Prince de Wagram; Expo: SdA1904-16; London-GG-1905-222.
Auguste Renoir: 1874-77ca, Sbl, 1F135, Portrait of Mme Henriot (Jeune Femme dans les champs), 71×33, FJMA Norman, Oklahoma (iR10;iR6;R30=R193,no135;R87,p242;R460,p118) =HD1875/03/24-46, Femme en promenade (70×43) -> Auguste de Molins (50fr)
Auguste Renoir: 1874-78, 1F141, Winding path leading through tall grass, 60×74, Orsay (iR6;iR40;R30+R193,no141;R190,no299;R185,no90;R32,p25;R193,no14;R3,p149;M1) Provenance: =? HD1875/03/24-47, Paysage d’été (60×73), sold for 105fr; Charles Comiot (till 1926).
Auguste Renoir: 1874ca, Sbr, 1F143, The fisherman (Le pêcheur à la ligne), 54×65, A2019/05/13 (iR6;iR15;iR40;R30+R193,no143;R90,no138;R108,no103;R185,no263) =HD1875/03/24-48, Pêcheur à la ligne (54×65) -> Georges Charpentier (180fr); HD1907/04/11-22; Expo: BJ1900-18
Auguste Renoir: HD1875/03/24-49, Jardin aux dahlias (50×61) -> Charpentier (120fr) (iR40;R88II,p452). Compare: 1CR131=1F160 (R108;R30=R193)
Auguste Renoir: 1870-74ca, Sbl, 1F117=2CR61, Rose bushes, 39×46, private (iR10;iR6;iR40;R30=193,no117;R185,no61;R88II,p452) =HD1875/03/24-50, Champ de rosiers (38×46) -> Petitdidier (75fr).
Auguste Renoir: 1874, Sbl, 1CR115 =1F124, La loge (L’avant scène), 27×21, A2008/02/05 (iR11;iR40;R30=R193,no124;R108,no115;R88II,p452) HD1875/03/24-51, Avant-scène (27×22) -> Jean-Dollfus (220fr); sale GP1912/03/02-60.
Auguste Renoir: HD1875/03/24-52, Le Lavoir de Bagneux (45×61) (aR1=iR40=R30=R193,no187). Compare: two other paintings with washing boats (R30=R193,no186 +R185,no121). Sold for 100fr to Perrier (R88II,p452).
Alfred Sisley: 1874, CR113=CCPP147, SDbl, View of the Thames and Charing Cross Bridge, 33×46, NG London (iR10;iR335;iR135;iR2;R38;R166,p48;R129,no113;R396,no147;R88II,p451;M61) Provenance: =? HD1875/03/24-53, Vue de la Tamise (33×46) -> Durand-Ruel (120fr); 1876 Durand-Ruel; Expos: DR1899-116; GPR1904-14; London-GG-1905-286.
Alfred Sisley: 1874, SDbr, CR146=CCPP140, Chemin de l’Étarché, Louveciennes, effet de neige, 56×46, Philips Washington (R8,p191;iR10;R129,no146;R396,no140+p517;R88II,p451;M29) Provenance: Compare: HD1875/03/24-57, Temps de neige (56×46) -> Dubourg (135fr); Paul Rosenberg; Expo: PR1904-37; PR1922-89.
Alfred Sisley: 1874, SDbr, CR134 =CCPP136, The Bell Tower at Noisy-le-Roi, Autumn, 46×61, BC Glasgow (iR2;iR10;iR173;iR40;M277;R166,p142;R129,no134;R396,no136;R88II,p451) Provenance: HD1875/03/24-58, Matinée automne (46×61) -> Durand-Ruel (130fr); Dachery; HD1899/05/30-48 -> de Rothschild; 1904 Paul Rosenberg; G. Petit; Expo: S1876-R; PR1904-42.
Alfred Sisley: 1874, SDbl, CR144=CCPP120, Rue de Montbuisson, Louveciennes, 41×33, private (iR10;iR166;R129,no144;R396,no120;R88II,p452) Provenance: =?? HD1875/03/24-60, Le Chemin de Monbuisson (40×32) -> Vuibert (80fr); Viguier; GP1906/05/04-70 -> G. Petit; Expo: GP1917-77.
Alfred Sisley: 1873, SDbr, CR92=CCPP110, Les chasseurs, lisière de la fôret de Marly, automne, 46×65, private (iR10;iR94;iR261;iR40;R129,no92;R396,no110+p515;R88II,p451) Provenance: =?? HD1875/03/24-61, Lisière de bois (46×65) -> Arosa (aîné) (110fr); Dr. Viau; Barbazanges gallery; Expos: =? Saint-Petersbourg-1912-606, Champ de blé (Rye Field) (Barbazanges in Paris); GP1917-63.
Alfred Sisley: 1875, SDbr, CR168=CCPP166, La maison de Sisley, Rue de la Princesse, Louveciennes, evening, 61×50, NAMA Kansas city (iR10;M42;R166,p118;R129,no168;R396,no166;R88II,p451) Provenance: HD1875/03/24-63, Route de la Princesse, soir (61×50) -> Durand-Ruel (130fr); Burke; 1899/04/04 Durand-Ruel; Expos: DR1899-13.
Alfred Sisley: 1875, SDbr, CR174=CCPP163, The Marly Machine and the dam, 38×46, private (iR2;R166,p122;R129,no174;R396,no163;R88II452) Provenance: Compare: HD1875/03/24-64, Le barrage (38×47) -> Durand-Ruel (50fr); Picq-Véron; 1892/06/25, Durand-Ruel.
Alfred Sisley: 1873, SDbl, CR74=CCPP103, The Seine at Port-Marly, 33×46, private (R396,no103;R129,no74;R88II,p451;iR40;iR19) (compare: HD1875/03/24-65, Bord de la Seine (33×46) (60fr) -> Durand-Ruel); 1880 Durand-Ruel (till 1933); Expos: =?? NY-AAG-1886-232, On the banks of the Seine; =London-GG-1905-285.
Alfred Sisley: 1874, CCPP126, SDbl, Chemin de Prunay à Louveciennes, 46×56, A2023/05/13 (iR10;iR11;R396,no126;R88II,p452) Provenance: =??? HD1875/03/24-66, Chemin de Prunay (46×56) -> Durand-Ruel (120fr); Picq-Véron; 1892/06/25 Durand-Ruel; <1900/02/10 Bernheim-Jeune.
Alfred Sisley: 1875, SDbl, CR176=CCPP187, La Seine à Port-Marly, tas de sable, 55×74, Chicago AI (M20;iR6;iR2;R53,p94;R17,p103;iR3info;iR493;R129,no176;iR19;R396,no187;R88II,p452;R231-1) Provenance: =??? HD1875/03/24-67, La Seine aux environs de Paris (54×73) -> Lecorf (?) (125fr); Dr. Viau; sale DR1907/03/04-74 (16.300fr); Bernheim-Jeune. Expos: compare: 1IE-1874-163, La Seine à Port-Marly; =GP1897-19; =EU-1900-C-614, La Seine à Port-Marly 1875 (à M. Viau); =GP1917-64.
Alfred Sisley: 1875, CR179=CCPP165, SDbr, The Seine at Bougival, view on the hills, 50×61, NGC Ottawa (iR2;iR11;R129,no179;R396,no165;M113) Provenance: =??? HD1875/03/24-68, Côteaux de Bougival (50×61) -> Durand-Ruel (115fr); Jules Feder; 1892/06/25 Durand-Ruel; 1894ca abbé Gaugain; HD1901/05/06-18 -> G. Petit; Expos: GP1897-145.
Alfred Sisley: 1874, SDbl, CR147=CCPP142, Snow effect at Louveciennes, 54×65, MB Potsdam (iR10;M268;iR2;iR11;iR40;R38;R129,no147;R396,no142;R88II,p452) =?? 2IE-1876-237, Effet de neige. Provenance: =?? HD1875/03/24-69, Effet de neige (54×65) -> Durand-Ruel (200fr); 1892 Durand-Ruel; Depeaux; GP1906/05/31-59; Decap.
Alfred Sisley: 1874, CR148=CCPP139, SDbr, Snow at Louveciennes, 65×92, private (iR2;iR40;R129,no148;R396,no139;R88II,p452) Provenance: =?? HD1875/03/24-70, Route Louveciennes, neige (65×92) -> Durand-Ruel (210fr); 1891/08/25 Durand-Ruel; <1893/01/14 Henri Vever; GP1897/02/01-103; Depeaux; GP1906/05/31-61 -> Paul Rosenberg; Expos: PR-1904-38; GP1917-92; PR1922-90.
Alfred Sisley: 1874, CR118=CCPP151, SDbl, Molesey weir, Hampton Court, morning, 52×69, NGS Edinburgh (M63;iR3;iR2;iR8;R38;R166,p138;R129,no118;R396,no151;R88II,p451/2;M63) Provenance: =? HD1875/03/24-72, Barrage de la Tamise (Hampton-Court; 51×68 -> not sold?); Faure; Expos: GP1897-141; GP1917-50.
Alfred Sisley: HD1875/03/24-73, Paysage (46×55) -> Durand-Ruel (300fr) (R88II,p452). Compare two landscapes with the same size: CR143=CCPP143 + CR114=CCPP159 (R129;R396)
Account: On this page I render the suggestions done by my sources. Combining the titles from the catalogue, the measures and the provenance I also added (very) uncertain suggestions or (a compilation of) works to compare.
I couldn’t find suggestions for nos. 4 +13 +20 +29 +31 +40 +59 +62: Sources: aR1;R88II,p451/2.
Monet:
HD1875/03/24-4, Matinée d’automne (48×73) -> Arosa (165fr); note the CR doesn’t render Arosa as one of the collectors (R22IV,p1044).
HD1875/03/24-13, Coucher de soleil (50×65) -> Mme Dalot (190fr); CR328 given as option for no.1 is also an option for no.13; the early provenance is not clear.
HD1875/03/24-20, Les Plattes de Villerville (Marine) (65×55) -> bought back for 180fr (R88II,p451).
Morisot:
HD1875/03/24-29, Marine (aquarelle) (48×64)* -> Ernest Hoschedé (45fr).
HD1875/03/24-31, Environs de Paris (aquarelle) (48×64)* -> Duez (50fr). Note*: the 4 aquarelles of Morisot (no.29-32) all had the same measures, namely 48x64cm; the most aquarelles she made untill 1875 were smaller; so, I assume the indicated measures were including a frame. Note: no.28 is signed ‘Manet’ but attributed to Berthe Morisot (see iR181=R100; M232).
Renoir:
HD1875/03/24-40, Petit Bohémienne (104×44) (note: a larger vertical painting) -> Léon Monet (90fr).
Sisley:
HD1875/03/24-59, Paysage (45×56) -> Arosa (80fr); note: the CCPP doesn’t render Arosa as a collector (R396,p515).
HD1875/03/24-62, Barrage de la Tamise (51×68) -> bought back (60fr) (compare no.72)
Sources: My main sources are the auction catalogue (aR1/iR40); the info given by Monneret (R88II,p451/2); the Catalogue Raisonné on Monet (Wildenstein, 1996=R22I,p117); the 2nd Catalogue Raisonné on Morisot (Clairet, 1997=R186); catalogues on Renoir: Raeburn (1985=R31); Dony / Brown (R30=Fezzi, 1972=R193); Fezzi (1985=R190); Ehrlich White (1984=R430); Bailey (2007=R460*); catalogues on Sisley: the Critical Catalogue** (2021=R396); Stevens (1992=R166,p37+264).
Other sources are: Rewald (R1,p351+354 +395); Moffett (R2,p146); Walther (R3,p192); Denvir (R5,p90);
For other general references (=R) see. For other references to internet sites (=iR) see. For other additional references (=aR) see below. See links for practical hints and abbreviations and for the subscription of the paintings. Note*: for no.37, Vue de Paris (Institut; 38×46) Christopher Riopelle suggests ‘L’Institut au Quai Malaquais’, 46x56cm, 2CR120 (R460,p150); but the measures don’t fit; so I suggest another view on the Quai Malaquais Note**: this catalogue omits this auction in it’s overview (R396,p525) and gives just 2 suggestions (R396,no136+166).
Further reading: M. Dodelsen: Early Impressionist sales 1874-94; in the light of some unpublished “procès-verbaux”. Burlington Magazine CX, June 1968 , p331-349 (R1,p395;R460,p282).
