Henri Rouart, 18xx, La forêt, 60×73, A2010/04/21 (aR12;aR11;aR13;aR14;R2,p122) Maybe: 1IE-1874-152, Forêt.
What art-works were shown at the 1st ‘impressionist’ exposition?
On this page you will find an unique, complete and accounted impression of all the about 225 art-works that were exhibited in 1874!!!
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. See the accounts of the partakers 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 and receive a unique and accounted impression of all the art-works exhibited! On a smartphone or laptop you can also zoom in. Enjoy!
Zacharie Astruc: 1IE-1874-1, Le Bouquet à la pénitente (aquarelle). Compare:
Zacharie Astruc: 1873, Scène de rue à Cuenca, wc, 57×80, MBA Pau (iR6;M170) =?? 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). Compare: HD1878/04/11-122, Jeune femme rêvant à sa fenêtre; villa de Saint-Germain
Zacharie Astruc: 1IE-1874-3-2, Scènes de somnambulisme (aquarelle) =1871, SDbl, Sleeping woman in the artist’s interior (Scènes de somnambulisme), wc, 56×42, MdlO Vichy (M21;iR438;iR10;R2,p118;R410,p33+273) Maybe reviewed as ‘Intérieur Japonaise’ (R90I,p21+38)
Zacharie Astruc: 1IE-1874-3-3, Enfants flamands dans une serre (aquarelle). Compare:
Zacharie Astruc: 1IE-1874-3-5, Les présents Chinois (Londres), aquarelle = 1871ca, The Chinese presents, aquarelle / gouache, 38x55cm, Flescher New York (iR6;R2,p124+118;R90II,p3+15;R410,p34+273) =!? HD1878/04/11-120, Les présents chinois; Jeunes filles anglaises essayant des parures (aR22)
Zacharie Astruc: 1IE-1874-3-6, Intérieur Parisien, aquarelle =1874, A Parisien interieur, gouache, 36x28cm, MBA Évreux (aR17;iR2;iR23;R87,p229;R90II,p3+15;R2,p118;R410,p35+273) =? HD1878/04/11-121, Dame dans son intérieur.
Zacharie Astruc: 18xx, Couple in a farmyard, wc, 26×33, A2021/02/16 (iR42;aR22;R2,p118) Maybe:1IE-1874-4-1, Estaminet dans les Flandres + HD1878/04/11-112, Estaminet dans la campagne flamande.
Zacharie Astruc: 1IE-1874-4-2, Jardins de Schaerbeek. Compare:
Zacharie Astruc: 1IE-1874-4-4, Étang de Saint-Josse-ten-Noode (Flandres). Compare 2x
Zacharie Astruc: 1IE-1874-5, Les Poupées Blanches (Japon). Compare:
Zacharie Astruc: 1IE-1874-6, Le Ménage mal assorti. Compare:
Antoine-Ferdinand Attendu: 18xx, Sbr, Still Life with Pewter Urn, Pearls, Draperies and Butterfly, 62×54, A2020/11/04 (iR17;iR42) =?? 1IE-1874-7, Nature morte (appartient à M.A.Q) (R2,p119)
Antoine-Ferdinand Attendu: 18xx, Sbl, Old man (un vieil homme assoupi sur sa chaise), ow, 28×22, A2024 (iR42;iR10) =?? SdR-1873-400, Un vieux type; compare: 1IE-1874-8, Un fin connaisseur.
Antoine-Ferdinand Attendu: 18xx, Sbl, Still life with weapons, ow, 26×34, A2024/05/17 (iR85;iR10) Compare: 1IE-1874-10, Nature morte: musique (aquarelle) (R2,p119)
Antoine-Ferdinand Attendu: 18xx, Sbl, Still life with chicken, on panel, gouache, 25×39, A2023/03/25 (iR11;iR10;iR100;iR85) Compare: 1IE-1874-11, Nature morte: cuisine (aquarelle, appartient à M.J.D); Compare: SdAF-1887-2556: Le Poulet, pastel; SdAF-1905-41, Le poulet.
Antoine-Ferdinand Attendu: 18xx, Sbl, Still-life (straw matted chair, earthenware pot, plucked chicken, copper cauldron), 46×56, MHM Cahors (iR356;iR10) =?? SdAF-1884-53, La Terrine; SdAF-1894-39, La terrine; SdAF-1889-58, La dame-jeanne; Compare: 1IE-1874-12, Nature morte: cuisine (aquarelle, appartient à M.J.D) (R2,p119).
Edouard Béliard: 1IE-1874-13, Le Fort de la Halle (appartient à M.D.). Compare a coloured etch of another artist
Edouard Béliard: 1IE-1874-14, Saules. Compare a painting with willows of another artist.
Edouard Béliard: 1IE-1874-15, Rue de l’Hermitage, à Pontoise. Compare a painting of Béliard depicting a road in Paris and a painting of another artist depicting this Rue de l’Hermitage at Pontoise.
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: 1874, CR964, The Coast of Portrieux, 85×118, private (iR10;iR6;iR2;iR1;R2,p125;R90II,p3;R122,no964). =? 1IE-1874-18, Rivage de Portrieux (Côtes-du-Nord) or: 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: 1853, SDtl, Self-Portrait as an etcher, drawing enhanced with pastel and gold-toned paint, 93×68, Harvard Cambridge (iR10;iR135;iR1;R73,p7;R52,p8;R85III,no1;R52,p8;M32) =S1853-169, Portrait de l’auteur, dessin; = EU-1855-2619, Portrait de l’auteur, dessin; =?? 1IE-1874-23, Portrait (dessin)
Félix Bracquemond: 1IE-1874-24-1, Portrait de M. Robert = 1873, SDbl, B94-4, Portrait of Louis Robert, administrateur de Sèvres, etch, 34×24, Metropolitan (iR6;iR284;R2,p119;R90II,p15;R85III,no94;M23) =!? SNBA-1907-171-81, Portrait de Louis Robert, adminstrateur de la Manufacture de Sèvres.
Félix Bracquemond: 1IE-1874-24-2, Portrait de M. Meyer Heine = 1872, B80-2, Meyer-Heine, chef émailleur de la manufacture de Sèvres, etch, 35×26, New York PL (iR61;R2,p119;R90II,p15+3;R85III,no80;R2,p119)
Félix Bracquemond: 1IE-1874-24-3, Portrait de M. Hoschedé =1871, B63-2, Hoschedé, d’après nature, etch 2of2, 30×20, New York PL (iR61;iR10;iR284;R90II,p15;R2,p119;R85III,no63) =SNBA-1907-171-91b.
Félix Bracquemond: 1IE-1874-24-4, Portrait de M Edwards = 1872, B38, Edwin Edwards, etch, 16×15, BNF Paris (iR6;iR284;R73,p45;R2,p119;R90II,p15;R85III,no38) =!? SNBA-1907-93c.
Félix Bracquemond: 1IE-1874-24-5, Portrait de M Aug Comte =!? 1851, B22, Portrait of Auguste Comte, founder of the religion of humanity (1798-1857), etch, 19×14, New York PL (iR10;iR19;R52,p138-9;R85III,no22;R90II,p16+3;R2,p19) =SNBA-1907-171-85
Félix Bracquemond: 1IE-1874-24-6, Portrait de M. Ch. Kean = 1871, B66, Charles Kean, etch, 23×17, in Gazette des Beaux-Arts (1884) + L’Artiste (1891/04) (iR6;iR48;iR284;R2,p119;R90II,p16;R85III,no66) =!? SNBA-1907-171, 94a, Portrait de Charles Keen.
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;R85III,no73;M121)
Félix Bracquemond: 1853, B77, Charles Meryon, graveur, etch, 20×15, BNF Paris (iR61;iR1;iR26;R52,p35;R2,p119;R90II,p16;R85III,no77) Option 1 for: 1IE-1874-24-8, Portrait de M Meryon; EU-C-1889-VII-60, Portrait de Méryon, d’après nature, eau-forte.
Félix Bracquemond: 1857, B49, Théophile Gautier (after Nadar), etch, 16×12, BM London (iR6;iR61;iR1;R52,p171;R2,p119;R90II,p16;R87,p231;R85III,no49;M147) =S1859-3529, Portrait de M. Th. Gauthier; eau-forte; =1IE-1874-24-9, portrait de Th. Gautier; =SNBA-1907-171-90.
Félix Bracquemond: 1IE-1874-24-10, Portrait de M. Th. Gautier (le Tombeau) =1873, B50, Le tombeau de Théophile Gautier, etch 4of4, 35×26, New York PL (iR61;iR10;R85III,no50;R90II,p16+4;R2,p119)
Félix Bracquemond: 1IE-1874-24-11, Portrait de M Baudelaire =!? 1861, B10, Charles Baudelaire (after his own drawing), etch, 35×26, New York PL (iR61;R87,p232;R2,p119;R90II,p17+4;R85III,no10)
Félix Bracquemond: 1IE-1874-25-1, La Locomotive = 1873, B336, Rain steam and speed (after Turner), etch, 22×26, Metropolitan (iR6;iR19;R2,p119;R90II,p17;R85III,no336;M23) =? SNBA-1907-171-111, Étude d’après un tableau de Turner “La Locomotive”, appartient à M. Jacquin
Félix Bracquemond: 1IE-1874-25-2, Le Lièvre = 1872, B277, The Hare a Misty Morning (after A. de Balleroy), etch, 16×25, BNF Paris (iR10;iR19;R73,p39;R2,p119;R90II,p17;R85III,no277) = SNBA-1907-171-113, Le lièvre, d’après Balleroy, (appartient à M. Jacquin).
Félix Bracquemond: 1IE-1874-25-3, Le Divan = 1863, B279, Young woman reclining, in Spanish costume (as a transvestite) (after Manet), etch, 30×42, New York PL (iR61;iR10;iR284;R88;R2,p119;R90II,p17;R87,p232;R85III,no279) =!? SNBA-1907-171-109, Jeune femme en costume espagnol, d’après Manet.
Félix Bracquemond: 1IE-1874-25-4 Le Tournoi, d’après Rubens = 1862-64, B274, A tournament (after Rubens), etch, 34×44, BM London (iR10;iR105;iR1;iR19;R2,p119;R90II,p17;R85III,no274;M147) =SdR-1863-658, Le tournoi d’après Rubens (eau-forte); S1864-2850, Le Tournoi, d’après le tableau de Rubens, du Musée du Louvre; eau-forte; =!? SNBA-1907-171-114, Un Tournoi, d’après Rubens.
Félix Bracquemond: 1IE-1874-25-5, La Source, d’après Ingres = 1849-70ca, B275, The source (after Ingres), etch, 31×35, NYPL (iR61;iR19;R2,p119;R90II,p18;R85III,no275) =!? SNBA-1907-171-105, La Source, d’après Ingres, appartient à M. Ch. Jacquin.
Félix Bracquemond: 1IE-1874-25-6, La Servante, d’après Leys =? 1868, B280-4-1, The servant (after Leys), etch, 25×15, BM London (iR10;iR61;iR19;R2,p119;R85III,no280;M147) =SNBA-1907-171-110, La Servante, d’après Leys.
Félix Bracquemond: 1IE-1874-26-1, Les Saules =!? 1852-82, B190, The willows of Mottiaux, etch 2of3, 20×30, New York PL (iR61=aR1;R90II,p18+4;R2,p119;R85III,no190)
Félix Bracquemond: 1IE-1874-26-2, Les arbres de la manufacture à Sèvres =!? 1873, B209, Étude de paysage (Study of a landscape), etch 2of3, 14×32, New York PL (iR61;iR10;R73,p46;R90II,p18+4;R2,p119;R85III,no209)
Félix Bracquemond: 1853, B131, Deux gros troncs de charme devant un mur (Two large hornbeam trunks in front of a wall), etch, 34×45, New York PL (iR61;iR10;iR6;R85III,no131;R52,p50;R2,p119) =?? 1IE-1874-26-3, Les Charmes.
Félix Bracquemond: 1IE-1874-26-4, Les Bouleaux =!? 18xx, B170, Les Bouleaux (Birch trees), etch, 21×15, New York PL (R90II,p18+4;R185III,no170;R2,p119)
Félix Bracquemond: 1IE-1874-26-5, La Montée de Bellevue =!? 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 Richmond (iR10;R2,p119;R90II,p18+4;R2,p119;R85III,no210;M220)
Félix Bracquemond: 1IE-1874-26-6, Le Mur = 1868, CR183, La Seine près de Passy, etch ps, 24×31, New York PL (iR61;R73,p43;R2,p119;R90II,p19+4;R85III,no183)
Félix Bracquemond: 1IE-1874-26-7, Les Bachots = 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;R85III,no208;R2,p119)
Félix Bracquemond: 1IE-1874-27-2, Frontispice pour les Fleurs du mal =!? 1861, B378-2, Unpublished frontispiece for Baudelaire’s Les Fleurs du Mal, etch 2/2, 18×12, Metropolitan (iR6;iR19;R73,p37;R2,p119;R90II,p19;R85III,no378;M23) =!? SNBA-1907-171-166b, Les “Fleurs du mal”du Baudelaire; (Frontispice non publié).
Félix Bracquemond: 1IE-1874-27-3, Margot la critique = 1854, B113, Margot la Critique, etch 1/3, 22×19, Metropolitan (iR6;iR10;iR1;R52,p86-8;R2,p119;R90II,p19;R85III,no113;M23) =EU-1855-4602, Margot la critique; eau-forte; =Lyon-1863-87; =EU-C-1889-VII-64, Margot la critique, eau-forte originale; =SNBA-1907-171-145a, Margot le critique.
Félix Bracquemond: 1857, B158, Le Bois de Boulogne (les cascades), etch, 16×12 or 55×35, Metropolitan (iR6;iR19;R52,p65;R90II,p19+5;R2,p119;R85III,no158;M23) =!? 1IE-1874-27-4, Bois de Boulogne; SNBA-1907-171-120, Le Rond des chênes, Bois de Boulogne.
Félix Bracquemond: 1IE-1874-27-5, La mort de matamore (Capitaine Fracasse) = 1852-82, B177, The death of Matamore (topic taken from Capitaine Fracasse), etch, 16×23, BNF Paris (iR61;iR26;R2,p119;R90II,p20)
Félix Bracquemond: 1IE-1874-28-1, Portrait d’Erasme (d’après Holbein; premier état) =1863, B39-1, Didier Erasme, etch 1of10, 25×20, New York PL (iR61;iR10;iR48;iR42;iR284;R85III,no39;R2,p119) = SNBA-1907-171-96a, Erasme d’après Holbein; 1er état (iR284).
Edouard Brandon: 1865, Bar Mitzvah, on panel, 35×45, A2019/11/20 (iR14;iR6;iR1;R2,p119). =?? 1IE-1874-29, Première Lecture de la Loi. Compare: SNBA-1890-126, Baar-Mitzwa (l’examen).
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 drawing of Brandon and a mural depicting the body of Saint Brigid.
Pierre-Isidore Bureau: 1IE-1874-33, Le Clocher de Jouy-le-Comte. Compare photo and painting other artist.
Pierre-Isidore Bureau: 1IE-1874-34, Près de l’étang de Jouy-le-Comte. Compare a marine of Bureau and a painting depicting a lake of another artist.
Pierre-Isidore Bureau: 1867ca, Sbl, Moonlight on the Banks of the Oise near L’Isle-Adam, 33 x 41, Orsay (-> MLS Isle-Adam) (iR20;aR1;iR23;R90I,p35;R87,p233;R2,p120;R90II,p20+6;R410,p101+269;R89,no19;R3,p55;R88I,p84;R3,p55;M1;M179) =S1867-240, Clair de lune, sur les bords de l’Oise, à l’Isle-Adam; =EU-C-1900-70. Perhaps: 1IE-1874-35, Bords de l’Oise, Isle-Adam, clair-de-lune or: 1IE-1874-35bis, Clair-de-lune.
Pierre-Isidore Bureau: 18xx, Sbl, The road at nightfall (La route, à la tombée de la nuit), op, 32×40, A2022/02/04 (aR12;iR10;R2,p120) = 1IE-1874-35bis, 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: 1874, SDtl, Le bon Père, 41×34 (former Hazard collection) (R152,p144+208;R90II,p21+6;R87,p234;R2,p161) Compare: 1IE-1874-37, Le bon père Pêcheur (120×100; former Mignon collection)
Adolphe-Félix Cals: 1860, La Fileuse bleue, 39x30cm (R152,p155+208;R90II,p21+6;R45,p10+++;R231-5) Provenance: Henri Rouart; sale 1912; SDbl 1860; 40x31cm (R45,p69). Expos: =!? S1861-503, Jeune fileuse; =1IE-1874-41, Fileuse; =!? EU-1889-C-117, La Fileuse (app. à M. H. Rouart; S.1860)
Paul Cézanne: 1IE-1874-42, La maison du Pendu, à Auvers-sur-Oise =1872-73, V133=FWN81, Sbl, Auvers-sur-Oise, house of the hanged man, 55×66, Orsay (iR2;iR59;iR194,no81;R189,no133;R90II,p21;R87,p235;R2,p120;R410,no170;R48,no136;R1,p334;R163,p46;R231-5;M1) Provenance: 1874 Count Doria (for 300fr); Chocquet. Expo: =EU-1889-C-124, La maison du pendu (à M. Choquet); =7XX-1890-2, Chaumière à Auvers-sur-Oise (lent by Chocquet).
Paul Cézanne: 1IE-1874-43 Une moderne Olympia, esquisse =1872-73, V225=FWN628, S-, A modern Olympia, 46×55, Orsay (iR2;iR59;iR194,no628;R189,no225;R90II,p21;R2,p120;R410,no80;R48,no250;R163,p46;M1)
Paul Cézanne: 1IE-1874-44, Étude, paysage à Auvers. Two options:
Gustave Colin: 1IE-1874-45, Haurra-Maria. Compare: another artist depicting Mary and Jesus and a portrait of Colin.
Gustave Colin: 18xx, Sbl, Landscape with cottage and garden, 47×63, A2012/03/14 (iR17;iR316;iR13;iR11) =?? S1859-666, Une ferme à Saint-Léonard, près de Fécamp (Seine-Inférieure) (iR1); =?? 1IE-1874-46, La Maison du Charpentier (R2,p120).
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, 65×54, A2019/120/14 (iR310;iR10) =?? S1870-608, Conchita (iR1) Compare: 1IE-1874-48, Marchandes de poissons de Fontarabie (Espagne) (R2,p120)
Gustave Colin: 1IE-1874-49, Entrée du port de Pasages (Espagne) =!? 18xx (1880ca), Le Castillo et le Goulet de Pasagès à marée haute (The castle and the narrow entrance the Gulf of Pasajes, high tide), 27×41, MBA Lille (iR4;iR23;iR1;R90II,p7;R90I,p14+30;M17). =S1868-554. Compare: S1869-517, Le Castillo à Pasages.
Louis Debras: 1IE-1874-50, Un paysan, étude. Compare:
Louis Debras: 18xx, Sbr, Still life with oranges, ?cm A2018/10/07 (iR10;iR18) =??? 1IE-1874-51, Une nature morte; =??? S1870-744, Nature morte; =?? SdAF-1880-1020, Salade d’oranges, 50x62cm.
Louis Debras: 1IE-1874-52, San Juan de la Rapita (Espagne); dessin. Compare:
Louis Debras: 1IE-1874-53, Rembrandt dans son atelier. Compare 1:
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;aR23;R90II,p7+22;R2,p120;R90I,p29+37;R26,no296;R47,p50;M23) Provenance: Durand-Ruel 1872/01/12; Brandon 1872/02; expo Durand-Ruel London-1876-2; Henry Hill since 1875ca-1889.
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;aR23;R26,no367;R2,p120;R114,no329;M43) Part of the Dr. de Bellio collection probably from 1876-1894.
Edgar Degas, 1IE-1874-58, Départ de course, esquisse, dessin =? 1860-62ca, At the Races, dr, 35×48, CAI Williamstown (M26;iR10) =Degas sale GP1919/07/02-253. Compare: 1860-62, CR76, At the Races, the Start, 32×46, Harvard Cambridge.
Edgar Degas: 1IE-1874-59, Faux depart, dessin Compare: 1883-85ca, The jockeys, litho, xx, xx (iR10;iR13) Compare: CR755, Race horses
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) Compare: 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;aR23;R26,no365;R2,p120) Compare: 1IE-1874-61, Une blanchisseuse, pastel; appartient à M. Brandon. Provenance: Vollard.
Edgar Degas: 1882-85, Après le bain, dr+p, 37×28, private (aR23=MS1070;iR15) Compare: 1IE-1874-62, après le bain, étude, dessin
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 =!? 1869ca (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. Former collection of Dr. Gachet.
Armand Guillaumin: 1IE-1874-65, Temps pluvieux, paysage. Compare another artist depicting a rainy day and a landscape of Guillaumin.
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
Louis Latouche: 1IE-1874-67, Clocher de Berck (Pas-de-Calais). Compare a painting of Latouche and of another artist.
Louis Latouche: 1IE-1874-68, Vue des quais (Paris). Compare:
Louis Latouche: 18xx, Sbl, Bateaux de pêche en bord de rivage, 33×47, A2020/07/03 (iR44;iR10;iR100;R2,p121) =?? 1IE-1874-69, La plage, marée basse à Berck (Pas-de-Calais)
Louis Latouche: 1869, Sous bois aux personnages, 45×70, CVdF Fontainebleau (iR10;iR127;iR1;R2,p121;R90I,p40) =!? S1869-1383, Sous-bois. Compare: 1IE-1874-70, Sous bois
Ludovic Lepic (1839-89): 1IE-1874-74, L’Arrivée de la marée à Cayeux, aquarelle. See two uncertain options.
Ludovic Lepic (1839-89): 1IE-1874-75, La pêche, étude en pleine mer, aquarelle. Compare two pictures of Lepic.
Ludovic Lepic (1839-89): 1IE-1874-76, Golfe de Naples, aquarelle (=? S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel; aquarelle). Compare a painting and a watercolour of Lepic.
Ludovic Lepic (1839-89): 1IE-1874-77, Le départ pour la pêche du hareng, aquarelle. Compare a painting and a watercolour of Lepic.
Ludovic Lepic (1839-89): 1IE-1874-78, L’Escalier du château d’Aix en Savoie =1863, SDbr, L’escalier au moine (The staircase of the castle of Aix en Savoie), etch, 41×38, BNF Paris (R276;R90II,p23+8;R2,p121;R410,p275;iR26) =!? B3-6, Intérieur de château (R85IX,p143,no3-6)
Ludovic Lepic (1839-89): 1IE-1874-79, César, portrait de chien, eau-forte =!? 1861, SDbr, B1-5b, César (le chien à la cravache), etch, 32×24, BNF Paris (HW;iR313;iR35;iR6;iR40;iR1;R90II,p8+23;R87,p240;R410,no.89;aR3,p89;R85IX,p143,no1-5b) Maybe: S1864-2936, Etude de chien, d’après M. Jadin; eau-forte.
Ludovic Lepic (1839-89): 1IE-1874-80, Jupiter, portrait de chien, eau-forte = 1861, SDbl, B1-5c, Jupiter (after Jadin), etch, 32×24, ENSBA Paris (HW;iR127;R90II,p23+8;R87,p240;R410,no88;R85IX,p143,no1-5c;M5) Maybe: S1864-2936, Etude de chien, d’après M. Jadin; eau-forte.
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)
Jean-Baptiste-Léopold Levert: 1IE-1874-85 + 3IE-1877-85, Moulin de Touviaux. Compare:
Léopold Levert: 18xx, Sbr, Animated landscape, 20×27, A2022/02/26 (aR7;R2,p121+162+312) Compare: 1IE-1874-86, Près d’Auvers; Compare: 2IE-1876-99, La ferme de Saint-Marc + 5IE-1880-106, La ferme de Saint-Marc
Comtesse de Luchaire: 1IE-1874-hc, Lieutenant de Lanciers. Compare pictures of other artists.
Alfred Meyer: 1IE-1874-87, Étienne Marcel prévôt des marchands, émail. Compare:
Alfred Meyer: 1IE-1874-88, Dona Maria Pacheco, épouse de Don Juan de Padilla, chef de l’insurrection, qui avait pris le nom de Sainte Ligue des communes sous Charles-Quint, email. Compare:
Alfred Meyer: 1IE-1874-89, Le Firmament, d’après Emile Lévy, émail. Compare 1:
Alfred Meyer: 1IE-1874-90, Figure d’après Raphaël, émail. Compare:
Alfred Meyer: 1IE-1874-91, Figure d’après Raphaël, émail. Compare:
Alfred Meyer: 1874, La Cigale et la fourmi (the cicade and the ant), dr + wc, 21×15, A2014/03/26 (iR11;iR41;iR1) Compare: S1876-2751, La cigale, émail. Compare: 1IE-1874-91bis, Idylle, dessin
Auguste de Molins: 1874, SDbr, Rendez-vous in the Bois de Boulogne, 35×55, private Lausanne (iR10;iR48;R90II,p9+23) =? 1IE-1874-92, The coming storm.
Auguste de Molins: 1873, Chasse à courre, 35×56, A2005/06/22 (iR13;R2,p121;R88I,p538). =? 1IE-1874-93, Rendez-vous de chasse
Auguste de Molins: 1874, SDbr, Before the hunt, 36×56, 2011/12/16 (iR13;iR11;iR10;M2,p121) =?? 1IE-1874-94, Relai de chiens.
Auguste de Molins: 1874, Chasse à courre en plaine, 35×55, A2003/12/05 (iR13;iR15;iR10;cpR88I,p538;R2,p121) =?? 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, Boulevard des Capucines, 61×80, Pushkin (iRx;R22+R127,CR292;R90I,p18;R2,p121;R90II,p24;R87,p163;M96,no3397) Info: painted from the Nadar studio where the 1st ‘impressionist’ exposition was held. Expos: =solo DR1883-31 =GP1889-19.
Claude Monet: 1872, CR263, SDbl, Le Havre, Impression, soleil levant, 48×63, Marmottan (iR2;R87,p243;R2,p92;R90II,p24;R22+R127,CR263;R1,p339;M2,no4014) Expos: =!? 1IE-1874-98, Impression, soleil levant; =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) =?? 1865-70ca, Sunset on the Plain, 21×32, private (iR2;R2,p121)
Claude Monet: 1IE-1874-100, Deux croquis (pastel) =?? 1865ca, Twilight, 19×31, MBA Nantes (iR2;R2,p121;M16)
Claude Monet: 1IE-1874-101, Deux croquis (pastel) =?? 1862-64ca, Sunset over the Sea, 17×33, Ashmolean Oxford (iR2;R2,p121;M66)
Claude Monet: 1IE-1874-101, Deux croquis (pastel) =?? 1862-64ca, View of the Sea at Sunset, 15×40, MFA Boston (iR2;R2,p121;M22)
Claude Monet: 1IE-1874-102, Un croquis (pastel) =?? 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 (The breakfast), 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 = 1872, 1CR25=2CR25, The Cradle, 56×46, Orsay (iR2;R2,p131+121;R90II,p10+25;R3,p89;R186,no25M1) Expos: DR1906-364; DR1902-40; Louvre-1902-110.
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: 1IE-1874-107, Marine =? 1871, CR16, The harbour at Cherbourg, 42×56, YUAG New Haven (iR6;iR2;R90II,p25+10;M33)
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) = 1873, CR622, On the cliff, wc, 18×23, DAG Louvre (Orsay) (iR10;iR94;iR166;iR59;R2,p122;R90II,p26+10;M1;M5a) (Edma Pontillon-Morisot with Jeanne (b.1870) in Fécamps.
Berthe Morisot: 1IE-1874-111, Dans le bois, aquarelle =? 1872ca, CR623cp, At the edge of the forest (Edma and Jeanne), wc, 20×22, NGA Washington (M21;iR8;iR40;R401,no185) Compare: HD1875/03/24-30, Lisière d’un bois (aquarelle; 48×64).
Berthe Morisot: 1IE-1874-112, ……….. ; aquarelle =!? 1871, CR615, Woman and Child Seated in a Meadow, wc, 21×24, private (iR2;iR64;iR10;R90I,p35;R2,p122;R90II,p26+10)
Émilien Mulot-Durivage: 18??, Sbl, A harbour scene (Le Havre?), 41×64, A2005/08/02 (Bateman Stamford) =?? 1IE-1874-113, Barques à plomb.
Émilien Mulot-Durivage: 1IE-1874-114, La Rampe. Compare:
Giuseppe de Nittis: 1870s, On the banks of the Seine, 27×35, private (R89,p15) Compare: 1IE-1874-115, Paysage près de Blois
Giuseppe de Nittis: 18xx, Sunrise on Vesuvius, on panel, 14×23, A2008/11/08 (iR13;iR10;R2,p122) Compare: 1IE-1874-116, Lever de lune, Vésuve
Giuseppe de Nittis: 1872ca, Study of the Vesuvius, on panel, 9×18, GAM Milan (iR8;R411;R2,p122;aR5=iR261) =? 1IE-1874-117, Campagne du Vésuve; =? Venice-1914, no.38-46, Sulle pendici del Vesuvio I-IX
Giuseppe de Nittis: 1873, B2, The Dancer Holoke-Go-Zen, etch 1/4, 16×19 (22×29), AI Chicago (M20;M26;iR10;iR11;iR23;R85X,no2;R410,p275;aR17=iR437;R2,p122) =? 1IE-1874-118-1, études de femme
Giuseppe de Nittis: 1873, B1, SDbl, Jeune femme assise sur un canapé (femme couchée sur un fauteil, profil à droite), etch 2/4, 22×29, Orsay -> Louvre (HW;iR10;iR127;R85X,no1;R410,p110+275;R2,p122;R422,fig4;M1;M5) former Degas collection; =? 1IE-1874-118-2, études de femme
Giuseppe de Nittis: 1873, B2, SDbl, La danseuse Holoke-Go-Zen, etch 3?/4, 21×28 (26×31), Baltimore MA (M24;iR10;iR11;iR23;R85X,no2;R410,p275;aR17=iR437;R2,p122) =? 1IE-1874-118-3, études de femme
Giuseppe de Nittis: 1873, B2, SDbl, La danseuse Holoke-Go-Zen, etch 4/4, 25×33, MCh Nemours (iR10;iR11;iR23;R85X,no2;R410,p275;aR17=iR437;R2,p122) =? 1IE-1874-118-4, études de femme
Giuseppe de Nittis: 1872, DMM344, The road from Brindisi to Barletta (La Route des Pouilles auprès de Brindisi), 27×52, private (Indianapolis MA) (iR6;iR2;iR10;iR1;aR7;R277,no344;R88I,p193;R277,no344;M165) =S1872-1177, Route de Naples à Brindisi (Italie); =? 1IE-1874-118bis, Route en Italie; = Venice1914-6, Road between Barletta and Brindisi; Compare: EU-1878-Italie-56, Route de Brindisi
Giuseppe de Nittis: 1872, View of the Gulf of Naples and the island of Capri (The Roughness Vesuvius), 40×77, MC Puglia Barletta (iR10;iR435;iR401;R411) =?? 1IE-1874-118bis+hc, Grande étude des Laves noires
Auguste-Louis-Marie Ottin: 1IE-1874-119, Amour et Psyché, groupe marbre. Compare:
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, Young girl holding a vase, marble, 115x26x26, MSC Poitiers (iR10;iR126;iR23;iR1;R2,p122;R90II,p11) =S1861-3532, Jeune fille tenant un vase; statue, marbre (bought by the State in 1861). Compare: S1857-3044, Jeune fille portant un vase; groupe, marbre; + 1IE-1874-124, Jeune femme portant un vase, terre cuite.
after Auguste-Louis-Marie Ottin: 1861, Jeune fille tenant un vase, plaster, h100, A2023/01/05 (iR11;iR10;iR126;iR1;R2,p122;R90II,p11) Compare: S1857-3044, Jeune fille portant un vase; groupe, marbre; + S1861-3532, Jeune fille tenant un vase; statue, marbre + 1IE-1874-124, Jeune femme portant un vase, terre cuite.
Auguste-Louis-Marie Ottin: 1846, Buste posthume de Charles Fourier en Hermès, sc, 51x30x22, MBAA Besançon (iR23;iR424;iR1;R2,p122;M246) Compare: S1850-3548, Buste de Charles Fourrier; Compare: 1IE-1874-125, Buste, terre cuite.
Auguste-Louis-Marie Ottin: 1855-84ca, Buste de Ingres (JAD Ingres), plaster (?), 53x26x22, Ecole des Beaux-Arts Paris (iR10;iR1;R2,p122;R90II,p26+11;M9). Compare: S1842-1996, bronze; +.EU=S1855-4522, marbre; + S1868-3782, marbre; + 1IE-1874-126, réduction en plâtre
Auguste-Louis-Marie Ottin: 1IE-1874-127, Le dernier mousse du vengeur, plâtre. Compare:
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
Léon Ottin: 1IE-1874-129, Après la messe à la campagne. Compare:
Léon Ottin: 1IE-1874-130, Au château (Sannois). Compare:
Léon Ottin: 1IE-1874-131, La butte Montmartre, versant sud. Compare:
Léon Ottin: 1IE-1874-132, La fête chez Thérèse, projet de rideau de théâtre. Compare:
Léon Ottin: 1IE-1874-133, Une bergerie sans moutons, lithographie. Compare:
Léon Ottin: 1IE-1874-134, At home; appartient à M.T.N. Compare:
Léon Ottin: 1IE-1874-135, Mariette, tête d’étude. Compare:
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
Auguste Renoir: 1IE-1874-141, Danseuse = 1874, 1CR110=1F126, SDbr, The Dancer, 142×94, NGA Washington (iRx;R87,p251;R2,p140;R90II,p12+27; R108,CR110;R30=R193,no126;R190,no121;R31,p197;M21,no1942.9.72) Provenance: Durand-Ruel; 1878 Deudon; 1899/03/08 Durand-Ruel. Expos: DR1883-36; DR1899-73; EU-1900-C-561, Une danseuse (1874) (à Mme J. Durand-Ruel); Vienna-EdI-1903-48; London-GG-1905-240; London-GH-1914-67; DR1920-25.
Auguste Renoir: 1IE-1874-142, La Loge = 1874, 1CR116=1F125, SDbl, The theater box, 80x64cm, Courtauld London (iR2;R87,p251;R2,p107;R90II,p12+28;R1,p334; R108,no116;R30=R193,no125;R190,no120;R31,no26;R231-1+2;M60) Provenance: 1874 Père Martin (425fr); Louis Flornoy; 1899/02 Durand-Ruel till 1925. Expos: London-SFA-1874-12; Nantes-1886-893; DR1892-63; DR1899-74; = EU-1900-C-562, La loge (1874) (à Mme A.F. Aude); 11LE-1904-128; London-GG-1905-251.
Auguste Renoir: 1IE-1874-143, Parisienne = 1874, CR102, The Parisian girl, 163x108cm, NMW Cardiff (iR6;iR2;R87,p251;R90II,p12+28;R2,p122;R31,no28;R108,CR102;M64). Rouart collection (R45).
Auguste Renoir: 1IE-1874-144, Moissonneurs =!? 1873, The Harvesters, 60×73, Bührle Zurich (iR2;R90II,p12+28;R2,p122+141;R30,no100;R190,no96;R87,p266;R90I,p25+29;M85) Sold 1874 to M. Hartmann for probably 1000fr (R460,p124;R411).
Auguste Renoir: 1IE-1874-145, Fleurs =? 1871, SDbr, Vase of flowers, xx, private (iR52;iR10;R90I,p27;R2,p122;cpR30,no67)
Auguste Renoir: 1IE-1874-147, Tête de femme. Compare:
Léopold Robert: 1IE-1874-159, Jeunes filles dans les foins en fleurs. Compare other artists with same motive.
Léopold Robert: 1IE-1874-160-1, Cadre, aquarelles. Compare work etch after painting of Paul-Joseph Robert and watercolour of L. Robert (1815?)
Léopold Robert: 1IE-1874-160-2, Cadre, aquarelles. Compare work painting of Paul-Joseph Robert and watercolour of L. Robert (1815?)
Henri Rouart: 1885ca, Sbr, Landscape with farm, Brittany, 66×92, private Gallery London (iR13;iR1;R2). Compare: 1IE-1874-148, Ferme bretonne. Compare also: S1869-2069, Chaumière au milieu des arbres, en Bretagne; 2IE-1876-229, Vieille ferme bretonne (étude); 3IE-1877-210+hc, La ferme; 6IE-1881-129, Chaumières bretonnes.
Henri Rouart: 1IE-1874-149, Levée d’étang. Compare:
Henri Rouart: 1874-80ca, Terrace on the Banks of the Seine at Melun, 47×66, Orsay (aR2;iR23;R2,p352;R90II,p156+174;R89,no63;R87,p253;R92,no12;M1). Option for: 1IE-1874-150, Vue de Melun and: 5IE-1880-182, Melun.
Henri Rouart: 18??, Sbr, The orchard and the village of La Queue-en-Brie, 50x60cm, private (R92,no13;R90I,p35;iR24) =?? 1IE-1874-151, Village; =? expo-1933-13, Le village de La Queue à travers les arbres.
Henri Rouart, 18xx, La forêt, 60×73, A2010/04/21 (aR12;aR11;aR13;aR14;R2,p122) Maybe: 1IE-1874-152, Forêt.
Henri Rouart: 1IE-1874-153, Route bretonne. Compare:
Henri Rouart: 1IE-1874-154, Route bretonne, aquarelle. Compare:
Henri Rouart: 1IE-1874-155, Maisons béarnaises, aquarelle. Compare:
Henri Rouart: 1xxx, Sbr, House in the South of France, aquarelle, 26×23, A2023/11/21 (iR86;R2,p122) =?? 1IE-1874-156, Maisons béarnaises, aquarelle
Henri Rouart: 18xx, S-, River bank, etch, 20×29, A2023/11/21 (iR86;R2,p122) =?? 1IE-1874-157, Eau-forte
Henri Rouart: 1877ca, Sbl, unknown title (Banks of a river), etch (frontpage in Croquis à L’Eau-Forte 1877), 25×19, NM Warsaw (M269) =?? 1IE-1874-158, Eau-forte
Alfred Sisley: 1IE-1874-161, Route de Saint-Germain, appartient à M. Durand-Ruel =? (R2,p123;R90II,p28;R129,CR43+44;R396,CCPP44+55;M154)
Alfred Sisley: 1IE-1874-162, Île de la Loge; appartient à M. Durand-Ruel = 1872, SDbl, CR21=CCPP50, 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;R396,CCPP50;M90,no1752) Provenance: 1873/01/21 Durand-Ruel; 1893 François Depeaux; sale GP1906/05/31-58; Expos: =London-DD-SdI-1883-45; =!? New York-1886-235, Le Bac de l’Île de la loge; =GP1899-68; Copenhagen-1914-177.
Alfred Sisley: 1873, SDbr, CR72=CCPP101, The Seine at Port-Marly, 50×65, private (iR10;iR155;iR94;R116II,p189;R166,p48;R2,p123;R129,CR72;R396,CCPP101) Bought by Durand-Ruel in 1874. Expos: =!? 1IE-1874-163, La Seine à Port-Marly (sold for 1000fr); =London-GG-1905-293.
Alfred Sisley: 1IE-1874-164, Verger =? 1873, SDbr, CR62=CCPP88, Apple trees in bloom, Spring morning (Pommiers en fleurs, Louveciennes), 50×73, A2013/05/08 (iR2;iR11;R2,p123;R90I,p25;R410,p176+272;R129,CR62;R396,CCPP88) Provenance: 1891 Durand-Ruel till 1936/10/19. Expos: =DR1899-128; =London-GG-1905-290.
Alfred Sisley: 1IE-1874-165, Port-Marly, soirée d’hiver =? 1872, SDbr, CR45=CCPP60, The Seine at Bougival in Winter (Gelée blanche, Port-Marly), 47×66, PBA Lille (iR10;iR6;iR2;iR10;iR94;R2,p123;R129,no45;R396,no60;R410,p272+p176;M17). Provenance: Dr. Paulin; sale HD1901/11/21-59 -> Foinard. Expos: BJ1911-39; GP1917-2.
Alfred Sisley: 1IE-1874-165+hc, L’Automne, bords de la Seine près Bougival = 1873, SDbr, CR94 =CCPP78, Autumn, Banks of the Seine near Bougival, 46×62, Montreal MFA (iR10;iR2;R90I,p23+35;R90II,p29;R2,p142;R129,CR94;R396,CCPP78;M110,no.45.924)
Clarification: On this page you find 225 suggestions for the about 225 art-works that were exhibited at the 1st ‘impressionist’ exposition in 1874.
The numbers 71-73 (between Latouche and Lepic) are left out and no. 146 of Renoir wasn’t exhibited.
Note: Ruth Berson renders 88 small black and white pictures of the art-works that were (probably) exhibited (R90II,p15-29).
Most of these pictures you will find at this page in colour.
The suggestions I add are mostly less certain*.
I also render works to compare. Works of the artist itself that has some similarity with the work exhibited, but are certainly not exhibited, because the title doesn’t fully fit, the description in the reviews doesn’t fit and/or the date doesn’t fit.
Sometimes to compare I render a compilation of 2 or 3 pictures. When possible with one of the artist itself and added with pictures of other artists. Pictures that fit more with the title in the catalogue and (when possible) has similarities with the painting style of the artist. But, sometimes I just render to compare a photo. Anyway, in these ways I hope te render any impression of the work exhibited.
Sometimes I render a compilation of 2 or 3 pictures that gives a good impression: nos. 74 +75 +76 +77 of Lepic;
The works I render to compare that are quite insufficient are: no.1 +3-3 +4-2 +4-3 +5 +6 (Astruc); 8 +10 +11 +12 (Attendu); 13 + 14 + 15 + 16 (Béliard); 32 of Brandon; 33 + 34 (Bureau); no.45 of Colin; 50 +52 +53 (Debras); no.54 of Degas; 65 (Guillaumin); 67 + 68 (Latouche); no.84 +85 of Levert; 87 +88 +89 +91bis (Meyer); 114 (Mulot-Durivage); no.115 (de Nittis); 119 +124 +127 (Auguste Ottin); 129 +130 +131 +132 +133 +134 +135 (Léon Ottin); 159 +160-1 +160-1+2 (Robert); 149 +153 +154 +155 of Rouart and the hc picture by Comtesse de Luchaire.
Helas, of several options I could only find a picture in black and white, namely no.37+41 of Cals.
