Claude Monet: 2IE-1876-149, La Seine à Argenteuil =!? CR373, 1875, SDbr, The Seine at Argenteuil, 60×80, A2014/06/23 (former FAM San Francisco) (iR2;iR14;R2,p179;R90II,p56;R22+R127,CR373;M30) Provenance: Faure (1875/09); Durand-Ruel (1893/01); Expos: =DR1883-13; =GP1889-28; =DR1899-5; London-GG-1905-126; New York-DR1926-12.
What pictures were shown at the 2nd ‘impressionist’ exposition?
In 1876 the ‘2e exposition de peinture‘ was held in Paris. This exposition is now mostly called the 2nd ‘impressionist’ exposition. There were 19 partakers. The catalogue rendered the numbers 1-252, but in reality there were about 298 art-works exhibited. Several techniques / media were used. On this page you will find 286 pictures that give an accounted impression of all the works exhibited. I will follow the catalogue numbers (which is not completely alphabetical). For the more certain suggestions first the title of the catalogue is mentioned (mostly also suggested by Berson, see R90I). For more uncertain suggestions this title will be rendered after actual information on the art-work. 129 times I render a compilation of pictures, mostly to render some impression of the work that is now lost and sometimes to render two options. 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. This will give you within 30 minutes an accounted impression of the works exhibited in 1876. On a smartphone or laptop you can also zoom in. Enjoy!
Edouard Béliard: 1860-76ca, Sbr, Banks of the Oise, 33×41, A2015/11/22 (iR2;iR13) =??: 2IE-1876-1, Board d’Oise.
Edouard Béliard: 2IE-1876-2, Fabriques au bord de l’Oise. Compare a painting of another artist explicitly depicting factories along the Oise and a painting of Béliard depicting factories in the distance.
Edouard Béliard: 18xx, Rue de village (Village street), 31×17, A2012 (iR102;iR10;iR16;R2,p160) =?? 2IE-1876-3, Rue de village
Edouard Béliard: 1878ca, Sbl, Moulin de Chauffour, effect of snow, ?cm, Md Étampes (iR2;iR35;R88,p65;aR6,p191+163+165+152;R2,p160;M254) Expos: =?? 2IE-1876-4, La rue de Chaufour à Étampes, effet de neige; =? EU-Philadelphia-1877; =P1913-111 — Moulin de Chauffour, « effet de Neige »
Edouard Béliard: 2IE-1876-5, Port de Granville. Compare a pastel of another artist depicting the harbour (and the jetty) of Granville (iR7;iR10;iR13;R90I,p64;R2,p160).
Edouard Béliard: 2IE-1876-6, 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 (iR10;iR6;R116,CCP411;R2,p160;M113).
Edouard Béliard: 1860-76ca, Sbr, Banks of the Oise (Quai du Pothuis), 33×45, A2007/12/13 (iR2;iR14;iR41) Expo: =?? 2IE-1876-1, Bord d’Oise; Compare: 2IE-1876-7, Rue Dorée, à Pontoise
Edouard Béliard: 2IE-1876-8, Promenade des Fossés, à Pontoise =? 1872ca, Promenade des Fossés, Pontoise, 55×46, MTD Pontoise (iR2;iR35;iR23;R2,p160;M173)
Pierre-Isidore Bureau (1822-76): 18xx, SDbr (Pierre Bureau 82??) Hilly Road (chemin montant), 26×41, MUDO Beauvais (iR2;iR127;aR3;iR1;R2,p161). =?? S1874-284, Route de Champagne, près de l’Isle-Adam (Seine-et-Oise); =?? 2IE-1876-9, Route de Champagne, près l’Isle-Adam
Pierre-Isidore Bureau: 18xx, Sbr, The Road, 89×116, Orsay -> MLS Isle-Adam (iR2; iR23;aR1;iR1;R2,p161;M1;M179) =?? S1872-234, Clair de lune, à Jouy-le-Comte (Seine-et-Oise); =?? 2IE-1876-10, Jouy-le-Comte, clair de lune;
Pierre-Isidore Bureau: 2IE-1876-11, Château de Valmondois. Compare two old postcards depicting a castle in Valmondois.
Pierre-Isidore Bureau: 18xx, Sbr, Rural path with figures, 72×114, A2018/03/17 (iR11;iR2;iR41;R2,p161) =?? 2IE-1876-12, Entrée de village à Champagne, près l’Isle-Adam
Pierre-Isidore Bureau: 2IE-1876-13, Meules au clair de lune. Compare a painting of another artist showing haystacks in the moonlight and picture of Bureau depicting moonlight.
Pierre-Isidore Bureau: 18??, Sbl, Unknown title (A road at the entrance of a village), xx, private (iR10;iR20;R2,p161) =?? 2IE-1876-14, Entrée de Nesles;
2IE-1876-15, Avoines dans la plaine de Champagne. Compare 2 paintings of other artists depicting a field with grain (one with oats) and one near Champagne.
Pierre-Isidore Bureau: 2IE-1876-16, Usine à Pacy-sur-Eure. Compare 2 pictures of other artists, one depicting factories and one depicting Pacy-sur-Eure.
Gustave Caillebotte: 2IE-1876-17, Raboteurs de parquets = 1875, SDbr, 1CR28 + 2CR34, The floor-scrapers, 100×145, Orsay (iR2;iR3;iR8;R2,p166;R90II,p33+47;R101,no28;R102,no34+p282;R41,p100;M1,RF2718) =HD1877/05/28-1 (655fr; bought back); =New York-AAG+NAD-1886-30; =DR1894-29. Location: 77, rue de Miromesnil.
Gustave Caillebotte: 2IE-1876-18, Raboteurs de Parquets = 1876, SDbl, 1CR29 + 2CR35, The floor-scrapers, 80×100, private Paris (iR2;R2,p168;R90II,p33+47;R101,no29;R102,no35+p282;R41,p12) =HD1877/05/28-2 (bought back); DR1894-13; SdA-1921-2708. Location: 77, rue de Miromesnil.
Gustave Caillebotte: 2IE-1876-19, Jeune homme jouant du piano. Now: 1876, SDbr, 1CR30+2CR36, Young man playing the piano, 80×116, private Paris (iR2;R2,p154;R90II,p33+47;R101,no30;R102,no36+p282;R41,p74) Expos: =New York-AAG+NAD-1886-28; =DR1894-43; =SdA1921-2704. Location: 77, rue de Miromesnil.
Gustave Caillebotte: 2IE-1876-20, Jeune homme à sa fenêtre = 1876, SDbl, 1CR26 + 2CR32, Young man at his window, 116×81, private (iR2;R2,p169;R90II,p33+47;R101,no26;R102,no32+p282;R41,p72) Expos: =? New York-AAG+NAD-1886-230; =DR1894-97.
Gustave Caillebotte: 2IE-1876-21, Déjeuner = 1876, SDbr, 1CR32+2CR37, Luncheon, 52×75, private (iR2;R2,p155;R90II,p33+47;R101,no32;R102,no37+p282;R41,p53). Location: Rue de Miromesnil). Sitters: Mme Martial + René Caillebotte.
Gustave Caillebotte: 1876ca, 1CR33+2CR39, S-, The garden in Yerres, 59×81, private (iR2;R101,no33;R102,no39) =?? 2IE-1876-22, Jardin.
Gustave Caillebotte: 2IE-1876-23, Jardin =? 1875, 1CR34+2CR25, SDbr, The park on the Caillebotte property at Yerres, 65×92, A2005/11/01 (iR2;iR11;R102,no25+p282;R101,no34).
Gustave Caillebotte: 2IE-1876-24, Après déjeuner. Compare:
Adolphe-Félix Cals: 2IE-1876-25, Soleil couchant. Two (very) uncertain options.
Adolphe-Félix Cals: 2IE-1876-26, Ferme de Saint-Siméon, printemps. Compare two a bit later paintings.
Adolphe-Félix Cals: 18??, Landscape with a Farmyard, 25×33, AMAA Oxford (iR2;iR35;R2,p161;M66) =??? 2IE-1876-27, Sous les arbres.
Adolphe-Félix Cals: 1876, SDtr, Portrait of a young woman at three-quarters (with a grey dress and white scarf), 41×33, A2007/06/27 (iR13;iR11;iR437;R2,p161) =?? 2IE-1876-28, Madelaine.
Adolphe-Félix Cals: 2IE-1876-29, Femme allaitant son enfant. Compare compilation.
Adolphe-Félix Cals: 1876, A sunday in Saint-Siméon (La Cueillete des pommes), 60×120, A1998 (iR6;iR13;iR14;iR35;R2,p161;R90II,p34+48;R152=aR2,p136+210). Provenance: Doria sale. Expos: =?? 2IE-1876-30, A la ferme de Saint-Siméon; Compare: 4IE-1879-42, Le dimanche à Saint-Siméon, Honfleur, dessin.
Adolphe-Félix Cals: 2IE-1876-31, Cour à Honfleur. Two very uncertain options.
Adolphe-Félix Cals: 2IE-1876-32, La leçon. Two very uncertain options.
Adolphe-Félix Cals: 1876, Portrait de femme, de trois quarts vers la gauche, dr, 36×28, Louvre (iR23;R2,p161;M5a) =? 2IE-1876-33, Portrait de Mme X… (dessin).
Adolphe-Félix Cals: 1875, Soeur et petit frère (Les enfants du pêcheur) (Honfleur), engraving after oil painting, 73×61, A2000/06/21 (R152,p171+209;iR13;iR10) Provenance: 1900 Hazard. Compare: 2IE-1876-34, Les enfants du pêcheur (dessin).
Adolphe-Félix Cals: 2IE-1876-35, Le repas frugal (dessin) =!? 1875, Repas frugal à Saint-Siméon (Meager meal at Saint-Siméon), dr, 19×24, A2012/12/16 (iR13;R2,p161) Provenance?: Doria sale; Hazard (R152,p216)
Edgar Degas: 2IE-1876-36, Portraits dans un bureau (Nouvelle-Orléans) = CR320, 1873, Le bureau de coton à la Nouvelle Orléans, 73×92, MBA Pau (iR2;iR23;R90II,p48+34;R2,p161+170;R26,no356;R114,no320;R231-1+2;M170) Purchased in 1878. Expos: =EU-1900-C-209, Intérieur d’un comptoir de coton à la Nouvelle-Orléans (Musée de Pau)
Edgar Degas: 2IE-1876-37, Examen de danse, Appartient à M. F… = 1876, CR397, the dance class, 84×77, Metropolitan (iR2;R2,p161;R90II,p48+34;R47,p64;R26,no488;M23).
Edgar Degas: 2IE-1876-38, portrait de Mr. E. M. = CR339, 1874, Eugène Manet, 65×81, A1981/05/19 (iR2;iR15;R90II,p48+34;R2,p172;R26,no371)
Edgar Degas, 2IE-1876-39, portrait de femme, ébauche =!? 1869, CR213, Mme Theodore Gobilllard, nee Yves Morisot, 55×65, Metropolitan (iR2;iR59;R90II,p48+34;R26,no249;M23)
Edgar Degas, 2IE-1876-40, Cour d’une maison (Nouvelle-Orléans, esquissé) = CR309, 1872-73, Children on a Doorstep, 60×75, OC Copenhagen (iR2;R26,no346;R90II,p34+49;R2,p161;M93)
Edgar Degas: 1884-86ca, CR785, Str, Les repasseuses (two women ironing), 76×82, Orsay (iR2;iR23;R26,no624;R114,no785;M1) Compare: 2IE-1876-41, Blanchisseuses. Provenance Durand-Ruel 1891
Edgar Degas: 1869, CR214, Mme Théodore Gobillard (Yves Morisot, 1838–1893), pastel, 48×30, Metropolitan (iR8;iR1;M23;R2,p161;R26,no250) =!? S1870-3320, Portrait de Mme G….; pastel; =? 2IE-1876-42, Ébauche de portrait, pastel
Edgar Degas: 1867-74ca, CR357, Melancholy, 19×25, Phillips Washington (iR10;iR6;iR8;aR23;R90II,p35+49;R90I,p86+290;R114,no357;M29) =? 2IE-1876-43, Portrait, le soir; Provenance: former Viau collection
Edgar Degas, 1875ca, CR362, La Répétition au foyer de la danse (Studies by ballerinas), 41×55, Phillips Washington (iR10;iR6;iR8;R90II,p49+35;R26,no486;R114,no362;M29) =? 2IE-1876-44, Salle de danse
Edgar Degas: 1873ca, CR324, (Trois) Danseuses dans une salle d’exercice, 28×23, A2019/02/27 (iR15;R26,no464;R2,p161;R45) Expos: =?? 2IE-1876-45, Salle de danse; Henri Rouart sale MJ1912-179.
Edgar Degas, 1872, CR305, SDbl, Woman with a vase of flowers (Estelle Musson = Mme René de Gas), 75×54, Orsay (iR2;iR23;R26,no341;R2,p161;M1) =?? 2IE-1876-46, Portrait
Edgar Degas, 2IE-1876-47, Coulisses = CR512, 1876-80ca, Yellow Dancers (in the Wings, preparing for the ballet), 73×60, AI Chicago (iR2;R26,no726;R114,no512;R2,p161+149;R90II,p35+49;R90I,p86+290+103;M20)
Edgar Degas: 1876-85ca, L617, Dancers in Pink, 59×74, HSM Farmington (iR53;iR10;iR114;iR2;aR23;R26,no790;R114,no617;R2,p161;M39) Provenance: 1876ca Faure; 1881 Durand-Ruel; 1881 Erwin Davies; 1892? Cottier; 1893-1946 Mr. Pope. Expos: compare: 2IE-1876-48, Coulisses; =NY-AAG+NAD-1886-?
Edgar Degas: 1873-74, CR356, Woman Ironing (Silhouette), 54×39, Metropolitan (iR2;iR59;aR23;R90II,p50+35;R26,no368;R47,p61;R2,p161;M23) Provenance: Durand-Ruel since 1873/06; Expos: =? London-7SFA-1873-80, The Parisian Laundress; =? 2IE-1876-49, Blanchisseuse (silhouette).
Edgar Degas: 2IE-1876-50, Blanchisseuse portant du linge. Compare painting and pastel.
Edgar Degas: 2IE-1876-51-1, Divers croquis de danseuses =!? 1875-80, CR388, Danseuse rajustant son chausson, thinned oil + sepia + pastel on pink paper, 40×32, private (iR10;iRx;iR64;iR42;iR138;aR23=MS1968;R90II,p50+35;R26,no495;R90I,p86+290)
Edgar Degas: 2IE-1876-51-2, Divers croquis de danseuses =!? 1874ca, Sbr, Danseuse, vue de dos, les mains sur les hanches, peinture à l’huile et à l’essence, blanc (rehaut), papier (rose), pinceau, 37×26, Louvre / Orsay (iR377;iR23;aR23;M5a;M1;R90II,p50+35;R90I,p86+290) Provenance 1894+ Guillaumin
Edgar Degas: 2IE-1876-53, Orchestre. Compare two paintings with other provenance.
Edgar Degas: 1874-78, CR361, La Repasseuse a contre jour, thinned oil, 45×54, MA Avignon (iR10;iR94;aR23;R26,no408;R90II,p7;R114,no361;M172?) Expos: compare: 2IE-1876-54, Blanchisseuse; =Saint-Peterbourg-1912-177.
Edgar Degas: 2IE-1876-55, Femme se lavant le soir. Compare two pastels over monotype.
Edgar Degas: 1882-1905 (1890ca), CR1023, Chez les modistes, oil, 60×75, JPGM Los Angeles (M31;iR377;R26,no680;R2,p161) Compare: 2IE-1876-57, Modiste.
Edgar Degas, 1869, CR198, SDbr, Emma Dobigny, 31×26, Kh Hamburg (iRx;iR2;R47,p44;R26,no254;R114,no198;R2,p161;M50) =?? 2IE-1876-58, Portrait
Edgar Degas: 1873ca, Blanchisseuse à contre-jour, dr, 42×31, A2020/10/09 (iR86;iR10;aR23;R114,CR356cp) =? 2IE-1876-59, Blanchisseuse (dessin)
Marcellin Desboutin: 2IE-1876-60, Chanteurs des rues. Compare etch after painting and two other paintings.
Marcellin Desboutin: 2IE-1876-61, Etude d’enfant. Compare two other paintings.
Marcellin Desboutin: 2IE-1876-62, Portrait de M. F… Compare 3 (very) uncertain options.
Marcellin Desboutin: 2IE-1876-63, Les premiers pas. Compare etch after painting and two other oil paintings.
Marcellin Desboutin: 2IE-1876-64, Le violoncelliste. Compare etch (after the painting?) and two other paintings.
Marcellin Desboutin: 2IE-1876-65, Tête d’étude. Compare 4 pictures depicting heads of a child.
Marcellin Desboutin: 2IE-1876-66, Portrait. Compare engravings after the painting and another oil painting.
Marcellin Desboutin: 2IE-1876-67, Portraits et études (gravure à la pointe sec) =? Croquis d’enfants
Marcellin Desboutin: 2IE-1876-68, Portraits et études (gravure à la pointe sec). Compare 2 dry point studies.
Marcellin Desboutin: 2IE-1876-69, Portraits et études (gravure à la pointe sec). Two uncertain options.
Marcellin Desboutin: 2IE-1876-70, Portraits (gravure à la pointe sec); 4 uncertain options.
Marcellin Desboutin: 2IE-1876-71, Portraits (gravure à la pointe sec); 3 dry points probably exhibited.
Marcellin Desboutin: 2IE-1876-72 Portraits (gravure à la pointe sec). =!? Leroy, imprimeur; =!? Le faiseur de cigarettes; compare 3 pictures of other artists.
Marcellin Desboutin: 2IE-1876-72+hc, L’Imprimeur. Compare etch (after painting?) and another painting.
Jacques François =Mme de Rambures (born: Marie de Bouillé 1844-1924): 2IE-1876-73, Raisins. Compare two still lifes of other artists depicting grapes.
Jacques François =Mme de Rambures (born: Marie de Bouillé 1844-1924): 2IE-1876-74, Prunes. Compare two still lifes of another artist depicting plums.
Jacques François =Mme de Rambures (born: Marie de Bouillé 1844-1924): 2IE-1876-75, Estamo de tabacco à l’Alhambra. Compare a lithograph of another artist with similar elements.
Jacques François =Mme de Rambures (born: Marie de Bouillé 1844-1924): 2IE-1876-76, Portrait de Mme M… Compare a self-portrait.
Jacques François =Mme de Rambures (born: Marie de Bouillé 1844-1924): 2IE-1876-77, Le dessert. Compare two still lifes of other artists depicting similar elements.
Jacques François =Mme de Rambures (born: Marie de Bouillé 1844-1924): 2IE-1876-78, Roses jaunes et raisinCompare two still lifes of other artists depicting yellow roses and grapes.
Jacques François =Mme de Rambures (born: Marie de Bouillé 1844-1924): 2IE-1876-79, Raisin et grenades. Compare two still lifes of other artists depicting grapes and pomgranates.
Jacques François =Mme de Rambures (born: Marie de Bouillé 1844-1924): 2IE-1876-80, Raisin et grenade. Compare two still lifes of other artists depicting grapes and a pomgranate.
Alphonse Legros, 2IE-1876-81-1, Les baigneuses =!? 1861, CR69, Les baigneuses (the bathers), ps, 34×23, BNF Paris (iR40,btv1b10545519b;iR105;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-2, La procession =!? 1855-65, CR49, Procession dans une église espagnole, etch, 41×68, BNF Paris (iR40,btv1b10545660r;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-3, Ambulance =!? 1855-61, CR124, L’ambulance (Scène du coup d’état 1851/12/02), etch, 37×27, BNF Paris (iR40,btv1b525061570;R2,p162;iR105;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-4, Promenade (pointe sèche) =!? 1861ca, CR68, Le Promenade du convalescent, etch ps, 28×20, Cleveland MA (iR19;M27,1945.274;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-5, Tribunal =!? 1874-, CR123, Le Tribunal, etch ps, 21×30, BM London (iR105;M147;iR367;iR282;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-6, Cours de Médicine =? 1855-65, CR122, Le cours de phrénologie, no.2, etch, 24×32, BNF Paris (iR40,btv1b10545295q;iR105;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-82, La morte (premier état avant la pointe sèche) =!? 1852-75, CR89, Death of a Vagabond, etch, 55×39, BM London (iR105;M147;iR19;M27;iR40;R2,p162;R90II,p38+53)
Alphonse Legros, 2IE-1876-83-1, Les vagabonds =? 1861, CR71, Les vagabonds de Montrouge (Mendiants aux environs de Paris), etch, 27×37, BNF Paris (iR40,btv1b10545547p;iR105;R2,p162;R90II,p38+53)
Alphonse Legros: 2IE-1876-83-2, La confrérie de la Sainte-Vierge (!? eau-forte). Two options:
Alphonse Legros, 2IE-1876-83-3, près de la cheminée =!? 1855-61, CR116, Le foyer, etch, 23×16, BNF Paris (iR40,btv1b10545678r;R90II,p38+53;R2,p161)
Alphonse Legros, 2IE-1876-83-4, Paysage (pointe sèche) =? 1852-71, CR103, La ferme au grand arbre, ps, 32×26, BM London (iR105;M147;iR40;R90II,p38+54;R2,p162;aR9,p11) =? S1875-3734, Une eau-forte: La ferme au grand arbre (Appartient à M. P. Malassis)
Alphonse Legros: 2IE-1876-83-5-1, Deux lithographies =!? 1855, CR111, L’expérience d’électricité, litho, 17×29, BNF Paris (iR40,btv1b10545574k;R90II,p38+54;R90I,p71;R2,p162;aR13)
Alphonse Legros: 2IE-1876-83-5-2, Deux lithographies =?? 1877-, CR112, Un anatomiste dissèque une tête humaine, à la lueur d’une lanterne, no.1 of La pièce aux six sujets, litho, 28×24, xx (iR423;aR13=iR40)
Alphonse Legros, 2IE-1876-83-6, Portrait de M. Barbey d’Aurevilly =!? 1877-, CR10, Portrait de M. J. Barbey d’Aurevilly, etch 2/2, 13×10, BM London (iR105;M147;iR40;R90II,p38+54;R90I,p105;R2,p162)
Alphonse Legros, 2IE-1876-84, Lutrin = !? 1852-77, CR62, Le lutrin no.2, etch, 25×24, BNF Paris (iR40,btv1b10545416m;iR105;iR1;R90II,p38+54;R2,p162) Compare: S1863-1155, Le lutrin and: S1868-1525, Un lutrin (Appartient à M. Jonides).
Alphonse Legros: 2IE-1876-85, Portrait de petite fille (pointe sèche) =!? 1875, CR30, La petite Marie (fille de l’artiste), ps, 23×17, BNF Paris (iR40,btv1b105455109;iR105;R2,p162;R90II,p38+54;aR9,p13;R85IX,no30) =!? S1875-3735, Une eau-forte: La petite Marie (Appartient à M. P. Malassis) =!? HD-1897/12/13-132bis-3, Portrait de la petite Marie
Alphonse Legros, 2IE-1876-86, Bonhomme misère. Option 3: 1869, CR140, La mort dans le piorier, etch, 23×15, Cleveland MA (iR19;M27,1921.1416;iR40;iR367;R90II,p38+54;R2,p162)
Alphonse Legros: 2IE-1876-87, L Portrait de l’historien Carlysle (premier état). Two options:
Alphonse Legros: 2IE-1876-88-1, Tête de vieillard (pointe sèche) =? 1875-77, CR37, Etude de tête d’homme, de profil, ps, 21×16, BNF Paris (iR40,btv1b10545545s;iR105;R90II,p38+55;R2,p162;aR13,no37)
Alphonse Legros: 2IE-1876-88-2, Femmes de Boulogne =!? 1873, CR80, Peasant woman in the neighbourhood of Boulogne, etch, 23×15, A2022/07/31 (iR17;iR19;M27;iR6;R90II,p39+55;R2,p162;aR13=iR40)
Alphonse Legros, 2IE-1876-89, Grand paysage, coup de vent =!? 1875-77, CR110, Le coup de vent, etch, 57×47, BNF Paris (iR40,btv1b10545317p;iR105;R90II,p38+55;R2,p162;aR9,p14;iR1) Compare: S1875-2482, Le coup de vent (Appartient à M. Malassis) (=drawing; aR9,p11)
Alphonse Legros, 2IE-1876-90, L’homme au mouton =!? 1855-77, CR86, Le mouton retrouvé, etch, 43×32, BNF Paris (iR40,btv1b10545399w;R90II,p39+55;R2,p162)
Alphonse Legros, 2IE-1876-91, La communion =!? 1861, CR54, La communion dans l’église Saint-Médard, etch 1st state, 36×27, BNF Paris (iR40,btv1b10545639j;iR105;R90II,p39+55;R2,p126)
Alphonse Legros, 2IE-1876-92, Paysage =? 1870, CR108, Landscape with Strawstacks, etch ps, 20×27, Cleveland MA (iR19;M27,1945.277;iR6;iR40;R90II,p39+92;R2,p162)
Jean-Baptiste-Léopold Levert: 2IE-1876-93, Vue de Portrieux. Compare watercolour Levert and painting Boudin.
Jean-Baptiste-Léopold Levert: 2IE-1876-94, Plage de Portrieux. Compare painting Levert and painting Boudin.
Jean-Baptiste-Léopold Levert: 2IE-1876-95, Port de Portrieux. Compare drawing Levert and painting Boudin.
Jean-Baptiste-Léopold Levert: 2IE-1876-96, La Jetée de Portrieux. Compare old postcard and painting Boudin.
Jean-Baptiste-Léopold Levert: 2IE-1876-97, Bords de l’Essonne. Compare drawing Levert and painting Boucher.
Jean-Baptiste-Léopold Levert: 2IE-1876-98, Maison à Vaulry (Limousin)Compare drawing Levert and painting Corot.
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
Léopold Levert: 18xx, Peinture (detail), 25×30, A2018/10/17 (aR4;aR2;R2,p162) Compare: 2IE-1876-100, Vue prise à Buttier. Compare: HD1883/02/26-95, L’Église de Butier, wc/dr
Jean-Baptiste-Léopold Levert: 2IE-1876-101, Le chemin vert à Noiseau. Compare drawing Levert and painting Corot.
Ludovic Lepic (1839-89): 2IE-1876-102, L’Ile de Vachereu (clair de lune). Compare a painting of Lepic and of Corot.
Ludovic Lepic (1839-89): 2IE-1876-103, Effet de brouillard en mer. Compare two paintings.
Ludovic Lepic (1839-89): 2IE-1876-104, Étude de bateaux. Compare a study of Lepic and of Monet.
Ludovic Lepic (1839-89): 1876ca, Sbr, The beach at Berck (Pas-de-Calais), 127×246, PBA Lille (iR?;iR6;iR35;iR23;iR127;iR130;R2,p162;M17). One of many uncertain options: 2IE-1876-105, La plage de Berck.
Ludovic Lepic (1839-89): 2IE-1876-106, Le Christ de la plage de Berck. Compare compilation.
Ludovic Lepic (1839-89): 1888ca, Sbl, Baie de Somme, le matin, 89×51, A2012/03/30 (iR11;iR13;iR1;R2,p162) Compare: 2IE-1876-107, Bateaux de la baie de Somme; Compare: S1876-1298, Le calme dans la baie de Somme.
Ludovic Lepic: 1876-79ca, The Smashed Boat (no.2) (à Mlle Lavezzari), 96×130, MdF Berck (aR4=M202;iR6;iR35;iR4;iR1;R276,p10;R2,p162) Compare: 2IE-1876-108, Un brisant (étude)
Ludovic Lepic (1839-89): 2IE-1876-109, La plage de Hourdel. Two very uncertain options.
Ludovic Lepic (1839-89): 2IE-1876-110, Le beaupré. Compare an engraving of Briscoe and a painting of Lepic.
Ludovic Lepic (1839-89): 2IE-1876-111, Forcé ! Compare a painting of Deiker and an aquarelle of Lepic.
Ludovic Lepic (1839-89): 2IE-1876-112, Bateaux de la plage de Berck. Two uncertain options.
Ludovic Lepic (1839-89): 2IE-1876-113, La Bouée No 2, baie de Somme. Compare compilation of 3 drawings.
Ludovic Lepic (1839-89): 2IE-1876-114, Clair de lune en mer (Manche). Compare paintings of Lepic and of de Champeaux.
Ludovic Lepic (1839-89): 2IE-1876-115, Effet de soleil (Manche). Compare two pictures of Lepic.
Ludovic Lepic (1839-89): 2IE-1876-116, La plage de Cayeux (effet de nuit). Compare two pictures of Lepic.
Ludovic Lepic (1839-89): 18??, Sbr, Le remorquage (towing), 125×97, MdF Berck (aR4=M202;iR13;R2,p162) =?? 2IE-1876-117, Le halage d’un bateau.
Ludovic Lepic (1839-89): 2IE-1876-118, Un cabestan. Compare a painting of Ponson and of Lepic.
Ludovic Lepic (1839-89): 2IE-1876-119, Le voilier. Compare two paintings with sailing ships.
Ludovic Lepic (1839-89): 1879ca (before), Sbr, Plage de Berck no.10, 38×62, Galerie Ary Jan Paris (iRx;iR10;R276,p125;R2,p162) One of several options: 2IE-1876-120, Bateau à sec.
Ludovic Lepic (1839-89): 2IE-1876-121, Le charpentier. Compare a painting of Mortelmans and of Lepic.
Ludovic Lepic (1839-89): 18??, Sbr, The beach at Berck, ?cm, MdF Berck (iR6;M202;R2,p162) One of many uncertain options: 2IE-1876-122, La plage.
Ludovic Lepic (1839-89): 2IE-1876-123, Le chantier de Cayeux. Compare painting of Lepic and of Cazin.
Ludovic Lepic (1839-89): 2IE-1876-124, Pompeï (5 aquarelles d’après nature). Compare compilation of 2 pictures of Lepic and 3 watercolours of Bazzani.
Ludovic Lepic (1839-89): 2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle) (=? S1875-2497, Le port de Santa-Lucia, Naples; aquarelle). Compare a painting of Shchedrin and an aquarelle of Lepic.
Ludovic Lepic (1839-89): 2IE-1876-126-1, Filets (2 aquarelles) (=? S1872-1007, Filets étendus; aquarelle). Compare a watercolour and an etch.
Ludovic Lepic (1839-89): 2IE-1876-126-2, Filets (2 aquarelles). Compare a watercolour and an oil painting.
Ludovic Lepic (1839-89): 2IE-1876-127-1, Barque échouée (baie de Somme) (2 aquarelles). Compare aquarelle and painting.
Ludovic Lepic (1839-89): 2IE-1876-127-2, Barque échouée (baie de Somme) (2 aquarelles). Compare aquarelle and painting.
Ludovic Lepic (1839-89): 2IE-1876-128, Falaises du Tréport (aquarelle). Compare two works of Lepic.
Ludovic Lepic (1839-89): 1874, SDbr, Bord de mer, wc, 27×37, A2024/02/02 (iR11;iR10;iR1;R2,p162) Uncertain option for: 2IE-1876-129, Soleil en mer. Compare: SdAF-1888-3286, Soleil sur la mer du Nord; aquarelle.
Ludovic Lepic (1839-89): 2IE-1876-130, L’église de Cayeux (aquarelle). Compare two aquarelles of Lepic.
Ludovic Lepic (1839-89): 2IE-1876-132, Les souterrains du port de Naples (aquarelle). See an uncertain option and a painting to compare.
Ludovic Lepic (1839-89): 2IE-1876-133, Fontaine à la Cava, prés de Naples (aquarelle). Compare photo and watercolour of Lepic.
Ludovic Lepic (1839-89): 2IE-1876-134, La Ballade des pendus, eau-forte =1869, SDbr, Le verger du roi Louis, etch, 20×28, BNF Paris (iR6;iR40,btv1b10315857r;R90II,p56+39;R2,p162;R85IX,p143,no3-7)
Ludovic Lepic (1839-89): 2IE-1876-135-1a, Croquis Hollandais (2 cadres eaux fortes) =? 1867, SDtl, B4, Transport de bois sur la glace (avec le neige), etch, 13×28, BNF Paris (iR6;iR40;iR1;R2,p163;R90II,p38;R85IX,p143,no4) Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Ludovic Lepic (1839-89): 2IE-1876-135-1b, Croquis Hollandais (2 cadres eaux fortes) =? 1869, SDtr, Cigognes, etch, 16×24, BNF Paris (iR6;iR40;iR1;R2,p163;R90II,p38;R85IX,p143,no4) Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Ludovic Lepic (1839-89): 2IE-1876-135-1c, Croquis Hollandais (2 cadres eaux fortes) =? 1869, SDtr, Cigogne au coucher du soleil, etch, 16×24, BNF Paris (iR6;iR40;iR1;R2,p163;R90II,p38;R85IX,p143,no4) Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Ludovic Lepic (1839-89): 2IE-1876-135-1d, Croquis Hollandais (2 cadres eaux fortes) =? 1869, SDtr, B4, Les patineurs, etch, 13×28, BNF Paris (iR6;iR40;iR11;iR17;;iR1;R2,p163;R90II,p38;R85IX,p143,no4) Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Ludovic Lepic (1839-89): 2IE-1876-135-2a, Croquis Hollandais (2 cadres eaux fortes) =? 1869, SDtl, B4, Moulins et voiliers, etch, 13×23, BNF Paris (iR6;iR40;iR1;R2,p163;R90II,p38;R85IX,p143,no4) Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Ludovic Lepic (1839-89): 2IE-1876-135-2b, Croquis Hollandais (2 cadres eaux fortes) =? 1870, SDtl, B4, Pêcheur en barque avec son chien, etch, 13×23, BNF Paris + Cherbourg MTH (iR6;iR40;iR23;iR1;R2,p163;R90II,p38;R85IX,p143,no4) Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Ludovic Lepic (1839-89): 2IE-1876-135-2c, Croquis Hollandais (2 cadres eaux fortes) =? 1870, SDtr, Moulin dans les roseaux, 13×23, BNF Paris (iR6;iR40;iR1;R2,p163;R90II,p38;R85IX,p143,no4) Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Ludovic Lepic (1839-89): 2IE-1876-135-2d, Croquis Hollandais (2 cadres eaux fortes) =? 1869, SDtr, Deux voiliers, engraving, 13×23, BNF Paris + Orsay (iR6;iR40;M1;iR1;R2,p163;R90II,p38;R85IX,p143,no4) Compare: S1870-5260, Neuf gravures à l’eau-forte; même numéro: Vues de Hollande.
Ludovic Lepic (1839-89): 2IE-1876-136, Canal en Hollande, lever de lune (eau forte). Two uncertain options.
Ludovic Lepic (1839-89): 2IE-1876-137, Tête de chien, épreuve tirée sur plaque sans gravure = 18??, Sbr, Head of a dog (for J. Andrée), monotype, 30×28, Baltimore MA (R90II,p56+40;R2,p162;M24)
Jean-Baptiste Millet: 18xx, Sbr, Les champs derrière Barbizon, wc, 24×33, A2011/06/05 (iR86;R2,p163) =? 2IE-1876-138, Femme gardant les vaches (aquarelle); appartient à M. Brame
Jean-Baptiste Millet: 18xx, Sbr, Landscape (HW: with a bending road and a farm), wc, 16×22, A2008/12/11 (iR13;R2,p163) =?? 2IE-1876-139, La Ferme (aquarelle); appartient à M. Haro
Jean-Baptiste Millet: 18xx, Sbr, A landscape with a field of mangold wurzels, dr + wc, 18×25, A2003/07/08 (iR11;R2,p163) =?? 2IE-1876-140, La Chaumière (aquarelle); appartient à M. Petit
Jean-Baptiste Millet: : 2IE-1876-141, Moulin à eau (aquarelle); appartient à M. Petit. Compare:
Jean-Baptiste Millet: 2IE-1876-142, Coin de ferme (!? oil painting). Compare oil painting and watercolour of Millet depicting a farm.
Jean-Baptiste Millet: 2IE-1876-143, Ferme du Fays (!? oil painting); appartient à M. Haro. Compare painting and watercolour of Millet and old postcard.
Jean-Baptiste Millet: 2IE-1876-144, Le pré; appartient à M. Petit. Compare:
Jean-Baptiste Millet: 2IE-1876-145, Le verger (sépia). Compare two drawings of Millet depicting an orchard.
Jean-Baptiste Millet: 2IE-1876-146, Le labourage (sépia rehaussée). Compare a drawing of Millet depicting a plough and a drawing of L’Hermitte depicting ploughing.
Jean-Baptiste Millet: 18xx, Sverso, Petite paysanne portant une gerbe, dr+wc+g, 47×56, MTH Cherbourg-en-Cotentin (iR23;M242;R2,p163) =?? 2IE-1876-147, La Fermière (aquarelle)
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.
Claude Monet: 2IE-1876-149, La Seine à Argenteuil =!? CR373, 1875, SDbr, The Seine at Argenteuil, 60×80, A2014/06/23 (former FAM San Francisco) (iR2;iR14;R2,p179;R90II,p56;R22+R127,CR373;M30) Provenance: Faure (1875/09); Durand-Ruel (1893/01); Expos: =DR1883-13; =GP1889-28; =DR1899-5; London-GG-1905-126; New York-DR1926-12.
Claude Monet: 2IE-1876-150, Le chemin d’Epinay, effet de neige. Option 1 of 2: 1875, Sbr, CR389, The Lane in Epinay, snow effect, 60×105, AKAG Buffalo (iR51;R2,p162;R90II,p56;R22+R127,CR389;M34,no.19.8). Provenance: =? sale Monet HD1876/04/14-38; Hiltbrunner; 1882/06 Durand-Ruel.
Claude Monet, 2IE-1876-151, La plage à Sainte-Adresse = CR92, 1867, The beach at Sainte-Adresse, 75×101, AI Chicago (iR2;R2,p180;R90II,p57;R22+R127,CR92;M20,no.33.439)
Claude Monet: 2IE-1876-152, Le pont de chemin de fer (Argenteuil) =? CR279, 1873, The railway bridge at Argenteuil, 60x99cm, A2008/05/06 (iR2;iR15;R2,p162;R90II57;R22+R127,CR279). Provenance: Faure (1874/06?); sale HD1878/04/29.
Claude Monet: 2IE-1876-153, Japonnerie = 1876, SDbl, CR387, Camille Monet in Japanese costume, 232×142, MFA Boston (M22,no.56.147;iR2;R2,p144;R90II,p557;R22+R127,CR387) Provenance: Monet sale HD1876/04/14-37 (2.000fr); M. L. ; sale HD1877/04/19-48; Comte Jean de Rasti; 1918 Paul Rosenberg. Expos: BJ1903-37.
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, 2IE-1876-155, Le petit Genevilliers. Maybe?: 1875, CR368, Yachts at Argenteuil, 54×65, Cologne Gallery Abels (iR51;R2,p163;R90II,p58;R22+R127,CR368). Also option for no.160.
Claude Monet: 2IE-1876-156, Le Pont d’Argenteuil (app. à M. Faure) = CR311, 1874, SDbr, The bridge at Argenteuil, 60×80, Orsay (iR2;R2,p152;R90II,p57;R22=R127,no311;R231-1;M1,RF1937-41) Provenance: 1874 Faure; 1906 Personnaz. Expos: =3XX-1886-5; =GP1889-M+R-24; =EU-1900-C-490, Argenteuil (à M. Faure); DR1906-9; MJ1912-132.
Claude Monet: 2IE-1876-157, La Berge d’Argenteuil =? 1872, CR225, (Le Bassin) The port at Argenteuil, 60×81, Orsay (iR51;R90II,p41;R22+R127,CR225;M1,RF2010)
Claude Monet, 2IE-1876-158, Effet d’automne. Probably: 1873, CR291, Autumn on the Seine at Argenteuil, 54×73, HMA Atlanta (M150,no.2000.205;R2,p162;R90II,p57;R22+R127,CR291)
Claude Monet: 2IE-1876-159, Les Dahlias =!? 1875, Sbr, CR383, Young girls in a bed of dahlias, 54×66, NG Prague (iR3;iR8;R2,p163;R90II,p58;R22+R127,CR383;M140,no3196) Provenance: Hoschedé (1877/03?), sale HD1878/06/05-56 (62fr); Chocquet, sale GP1899/07/01-82.
Claude Monet: 2IE-1876-160, Les bateaux d’Argenteuil. Option out of two: 1875, CR369, Red boats, Argenteuil, 60×81, FAM Cambridge (iR51;R2,p163;R90II,p58;R22+R127,CR369;M32,no1951.54) Provenance: ?Faure (1875/09), ?Durand-Ruel (1893). Expo: =? GP1889-27
Claude Monet: 2IE-1876-161, La promenade = 1875, CR381, The walk (Woman with a parasol), 100×81, NGA Washington (iR2;R2,p181;R90II,p58;R22+R127,CR381;M21,no1983.1.29) Provenance: G. de Bellio (1876/11/17)
Claude Monet: 2IE-1876-162, Panneau décoratif = 1873, CR285, Le Déjeuner, (Monet’s garden in Argenteuil), 162×203, Orsay (iRx;R2,p163;R90II,p58;R22+R127,CR285;M1,RF2774) =1894, Caillebotte bequest. Expo: Geneva-1918-105.
Claude Monet, 2IE-1876-163, Le printemps = CR201, 1872, Apple trees in blossom, 58×70, ULCC Chicago (iR2;R2,p163;R90II,p58;R22+R127,no201)
Claude Monet: 2IE-1876-164 = S1870-R2 =!? CR136, 1869/09, La Grenouillère, xx, destroyed WWII; compare compilation of CR136+134+135 (HW;iR10;iR135;R22+R127,CR136+134+135;M23;M61)
Claude Monet: 1866, S-/Sbl, CR76, fishing boats (study), 45×55, A2023/05/17 (iR2;iR14;R22+R127,CR76) Provenance: Duranty; sale HD1881/01/28-67 (72fr); Chocquet; sale GP1899/07/01-80. Expos: =? 2IE-1876-165, Bateaux de pêche (etude).
Claude Monet: 2IE-1876-165+hc, Springtime = CR205, 1872, The reader (figure en rose), 50×65, WAM Baltimore (iR2;R2,p163;R90II,p59;R90I,p113;R22+R127,CR205;M48,no.37.11) Provenance: !?1872/11/23, Durand-Ruel; 1873/04/28, Ernest Hoschedé; sale HD1878/06/05+06-54; Lussac; 1889ca Mary Cassatt. Expo: GP1889-23.
Berthe Morisot: 2IE-1876-166, Au Bal =1875, 1=2CR60, At the ball (Woman with a fan), 62×52, Marmottan (iR2;iR59;R90I,p41;R42,p36;R3,p151;R2,p163;R90II,p41;R186,no60;R398,no20;M2) Provenance: G. de Bellio; Donop de Monchy. Expos: BVc-1892-10; DR1896-27; EU-1900-C-505, Femme au bal (à M. Donop de Monchy)
Berthe Morisot: 2IE-1876-167, Le lever. See black and white picture and compare 2 coloured paintings.
Berthe Morisot, 2IE-1876-168, La toilette =1876, CR61, Young woman with a mirror, 54×45, private (iR10;iR64;iR59;R90II,p42;R100,p27)
Berthe Morisot: 2IE-1876-169, Déjeuner sur l’herbe. See black and white picture and second uncertain option.
Berthe Morisot: 1875, 1=2CR53, S-, Harbour Scene, Isle Wight, 38×46, Axx (iR2;iR10;iR13;iR128;R2,p163;R100,p27;R186,no53) Expos: =? 2IE-1876-170, Vue de Solent (Île de Wight); =DR1896-143; =5SdA-1907-48. Also suggested for 2IE-1876-172 +177 (R2,p163;R90II,p42);
Berthe Morisot: 1875, 1=2CR52, West Cowes, Isle of Wight , 48×36, A1997/11/28 (iR10;iR64;iR13;iR2;R2,p163;R100,p27+no52;R90II,p42) Expos: =? 2IE-1876-171, West Cowes, Île de Wight; =DR1896-144; =DR1902-22. Also suggested for 2IE-1876-170 or 176 (R2,p163), but less suitable.
Berthe Morisot: 2IE-1876-172, Le bateau à vapeur. Compare two paintings depicting a steamboat.
Berthe Morisot: 2IE-1876-173, Plage de Fécamps =1873, 1CR30=2CR30, The Beach of Fécamp, 24×51, private (iR10;iR135;iR2;R2,p163;R90II,p42;R186,no30) Expos: DR1896-154; 5SdA-1907-58.
Berthe Morisot: 2IE-1876-174, Un Chantier =1874, 1=2CR39, Boats under Construction, 33×41, Marmottan (iR2;R2,p163;R90II,p42;R186,no39;R398,no14;M2) Expos: DR1896-152; DR1902-24. Info: made in Fécamp.
Berthe Morisot: 2IE-1876-175, Un percher de blanchisseuse =1875, 1=2CR45, Hanging the laundry out to dry (Gennevilliers), 34×44), NGA Washington (iR2;iR59;R2,p182;R186,no45;R398,no14;M21) Expos: BVc-1892-16; DR1902?-103.
Berthe Morisot: 1875, 1=2CR48, Vue d’Angleterre (enfants dans l’herbe en Angleterre), 41×51, unknown location (iR10;iR94;iR48;R2,p163;R100,p26;R186,no48) Expos: =? 2IE-1876-176, Vue d’Angleterre; =DR1896-141; =5SdA-1907-22. Also suggested for 2IE-1876-170 (R2,p163), but not very suitable.
Berthe Morisot: 1875, 1=2CR50, Dans l’île de Wight (Vue d’Angleterre), 27×39, A2023/06/28 (iR10;iR14;iR6;R100,p27+no50;R186,no50;R2,p163) Expos: =? 2IE-1876-177, Vue d’Angleterre; =DR1896-375. Also suggested for 2IE-1876-171, West Coves (Île de Wight) (R2,p163);
Berthe Morisot, 2IE-1876-178, Figure de femme. =1875, CR59, Woman in Black (Before the Theater), 57×31, A2017/02/28 (iR2;iR15;iR59;iR11;R2,p163;R90II,p42)
Berthe Morisot, 2IE-1876-179, Avant d’un Yacht, aquarelle =1875, CR630, Before a Yacht, wc, 21×27, CAI Williamstown (iR10;iR134;iR2;R2,p163;R90II,p61)
Berthe Morisot, 2IE-1876-180, Entrée de la Midina, Île de Wight (aquarelle) =1875, CR632, Boats, Entry to the Medina in the Isle of Wight, 19×18, wc, FAM Cambridge (iR2;iR59;R2,p163;R90II,p43)
Berthe Morisot, 2IE-1876-181, Vue de la Tamise (aquarelle) =1875, CR631, Boat at a Dock, wc, 17×23, Marmottan (iR2;R90II,p43)
Berthe Morisot: 2IE-1876-182, Trois dessins au pastel. See 3 very uncertain options.
Léon Ottin: 2IE-1876-183, La maison bleue (butte Montmartre). Compare a painting of Monet and a watercolour of Ottin.
Léon Ottin: 2IE-1876-184, Mont Cassin, versant sud (Butte Montmartre). A very uncertain option.
Léon Ottin: 2IE-1876-185, En plein soleil, versant sud (Butte Montmartre). Compare a painting of Renoir and of Ottin.
Léon Ottin: 2IE-1876-186, Sur le Versant nord (Butte Montmartre). Compare a drawing of Ottin and a painting of Yon.
Léon Ottin: 2IE-1876-187, Le Plateau de la Butte. Compare a painting and a watercolour of Ottin.
Léon Ottin: 2IE-1876-188, La maison Lorcinier (Butte Montmartre); appartient à M.L… Compare a watercolour and a painting of Ottin.
Léon Ottin: 2IE-1876-189, La rue du Mont-Cenis (Butte Montmartre). Compare watercolour of Ottin and painting of Hista.
Léon Ottin: 2IE-1876-190, Retraite de Russie, versant ouest (Butte Montmartre). Compare painting of Pryanishnikov and of Ottin.
Léon Ottin: 2IE-1876-191, La maison rouge, l’Abreuvoir (Butte Montmartre). Compare painting Utrillo and detail watercolour Ottin.
Léon Ottin: 2IE-1876-192, Petit rue Saint-Denis (Butte Montmartre). Compare a painting of Lépine and a watercolour of Ottin.
Léon Ottin: 2IE-1876-193, La tour Solferino (Butte Montmartre); appartient à Mme O. Compare a painting of Chevalier and of Ottin.
Léon Ottin: 2IE-1876-194, Au cimetière (Butte Montmartre). Compare a painting of Prats and a watercolour of Ottin.
Léon Ottin: 2IE-1876-195, 7 pièces, no.1, Le sommet, orage. Compare a painting of Ottin and two paintings of other artists (Michel and Chevalier).
Léon Ottin: 2IE-1876-195, 7 pièces, no.2, Le sommet, brouillard sur Paris. Compare a painting of Ottin and two paintings of 2 other artists (Van Gogh + Dupendant).
Léon Ottin: 2IE-1876-195, 7 pièces, no.3, Rue du Mont-Cenis. Compare watercolour of Ottin and painting of Lépine.
Léon Ottin: 2IE-1876-195, 7 pièces, no.4, L’observatoire à 10 cent. Compare painting of Jean Millet and watercolour of Ottin.
Léon Ottin: 2IE-1876-195, 7 pièces, no.5, Village Kabyle. Compare paintings of Noire and of Ottin.
Léon Ottin: 2IE-1876-195, 7 pièces, no.6, D’un balcon, soleil couchée. Compare painting of Bergh and watercolour of Ottin.
Léon Ottin: 2IE-1876-195, 7 pièces, no.7, Entre les rues des Carrières et Marcadet. Compare watercolours of Ottin and of Lévis.
Léon Ottin: 2IE-1876-196, 3 pièces, no.1, Le Parc. Compare watercolour and painting of Ottin.
Léon Ottin: 2IE-1876-196, 3 pièces, no.2, Auvergne; appartient à M. And. Gill. Compare painting of Harpignies and watercolour of Ottin.
Léon Ottin: 2IE-1876-196, 3 pièces, no.3, De la rue Ordener. Compare aquarelle of Ottin and gouache of Utrillo.
Camille Pissarro: 2IE-1876-198, Un étang à Montfoucault (Mayenne) =? CCP372, 1874, Montfoucault, the pond, 60×73, private (iRx;R116,CCP372;R2,p164)
Camille Pissarro: 2IE-1876-199, Gelée blanche avec brouillard; appartient à M. Choquet (sic) = CCP331, 1874, Brouillard (Fog), 54×65, private (iR10;iR94;R116,CCP331;R90II,p43+61;R2,p164) Chocquet collection
Camille Pissarro, 2IE-1876-200, Neige, coteaux de l’Hermitage = 1874, CCP327, Effect of snow at the L’Hermitage, Pontoise, 55×66, private (iR2;iR59;R2,p164+156;R116,CCP327;R90II,p43+62)
Camille Pissarro, 2IE-1876-201, Ferme à Montfoucault. Now: 1874, CCP377, Farm at Montfoucault, 60×74, MAH Geneva (iR2;iR59;R116,CCP377;R90II,p43+62;R2,p164;M141)
Camille Pissarro, 2IE-1876-202, Les Coteaux du Choux =? CCP354, 1874, Pontoise, a cowherd on the route de Chou (or at Valhermeil, Auvers-sur-Oise), 55×92, Metropolitan (iR2;iR59;R116,CCP354;R90II,p43+62;M23)
Camille Pissarro, 2IE-1876-203, Le berger. = 1875, CCP426, The shepherd at Montfoucault, sunset, 58×72, A1993/11/29 (iR10;iR15;R116,CCP426;R90II,p43;R2,p164)
Camille Pissarro: CCP329, 1874, SDbl, L’Hermitage, Pontoise, effect of snow, 60×65, Cambridge Harvard (iR10;iR94;iR7;R116,CCP329;R2,p164;R231-2;M32) Early provenance is unclear. Expos: =?? 2IE-1876-204, Effet de neige à Pontoise; =?? EU-C-1900-C-522bis, Effet de neige près Pontoise (à M. Max Rodrigues)
Camille Pissarro, 2IE-1876-205, Effet de neige, coteaux d’Osny. Maybe: 1873, CCP286, The road near the railway, effect of snow, Osny, 52×81, Tokyo NMWA (iR6;R116,CCP286;R2,p164;M127)
Camille Pissarro: CCP321, 1873, Kitchen Gardens at l’Hermitage, Pontoise, 54×73, private (iR2;R116,CCP321;R2,p164) =?? 2IE-1876-206, Les jardins de l’Hermitage
Camille Pissarro: CCP356, 1874, SDbr, A corner of L’Hermitage, Pontoise, 61×81, Winterthur SOR (iR10;iR94;iR7;R116,CCP356;R2,p164;M87) =?? 2IE-1876-208, Village d’Hermitage.
Auguste Renoir: 2IE-1876-209, Femme et enfant; appartient à M. Poupin. 3 very uncertain options:
Auguste Renoir: 2IE-1876-210, Sur la terrasse; Appartient à M. Choquet =1876, CR173, Portrait of Mme Chocquet by the window, 67×54, Pushkin (iR10;iR202;iR6;R90II,p43+62;R2,p164;R108,no173;R30,no223;M96)
Auguste Renoir: 2IE-1876-211, Portrait (app. à M. Choquet) =? CR176, 1875, Portrait of Victor Chocquet, 46×37, Harvard Cambridge (iRx;R30,no225;R90II,p44+63;R2,p164;R108,no176;M32). Compare: 2IE-1876-214, Tête d’Homme (app. à M. Choquet).
Auguste Renoir: 2IE-1876-212, Étude = CR201, 1876ca, Study, torso of a woman in the sunlight, 81×65, Orsay (iR52;R2,p184+184;R90II,p44+62;R108,no201;R30,no204;M1)
Auguste Renoir: 2IE-1876-213, Liseuse (app. à M. Choquet) = 1876, CR174, Madame Chocquet Reading, 66×55, private NY (iR2;iR22;iR52;R90II,p44+62;R2,p164;R108,no174;R30,no224)
Auguste Renoir: 2IE-1876-214, Tête d’Homme (app. à M. Choquet) =!? 1876, CR175, Victor Chocquet, 46×36, SOR Winterthur (R30,p45=no226;R90II,p44+63;R2,p164;R108,no175;M87)
Auguste Renoir: 2IE-1876-215, Portrait d’enfant, appartenant à M. Choquet (sic). 3 very uncertain options:
Auguste Renoir: 1876ca, Portraits of Marie-Sophie Chocquet, 36×45, private (iRx;R30,no214;R2,p164) =?? 2IE-1876-216, Tête d’enfant (app. à M. Choquet)
Auguste Renoir: 2IE-1876-217, Tête de femme =1876ca, 1CR167=1F253, Woman with a rose, 33×27, Arp MBR Remagen (iR10;iR6;iR59;R90II,p44+63;R2,p164;R108,no167;R30-R193,no253;R190,no249;R231-1;M279) Provenance: Dollfus; 1912 George Petit. Compare: EU-1900-C-565, La Rose (appartient à M. Gustave Geffroy)
Auguste Renoir: 2IE-1876-218, Portrait de Mlle S… =? 1875, 1F168, Jeanne Sisley, 37×28, A2013/05/09 (iRx;iR11;R30=R193,no168;R2,p164) Expo: =? BJ1907/12-2, Tête d’enfant (iR19).
Auguste Renoir: 2IE-1876-219, femme au piano (app. à M. Poupin) = 1876, CR219, Young Woman at the Piano, 93×74, AI Chicago (iR2;R90II,p44+63;R2,p164;R108,no219;R30,no232;M20)
Auguste Renoir: 2IE-1876-220, Portrait de M. M., appartenant à M. Dollfus. 3 options:
Auguste Renoir: 2IE-1876-221, Déjeuner chez Fournaise =1875, CR305, The Oarsmen (Lunch at the Restaurant Fournaise), 55×66, AI Chicago (M20;R90II,p6344+;R2,p146;R108,no305;R30,no452)
Auguste Renoir: 2IE-1876-222, Portrait de Mme D. Two very uncertain options.
Auguste Renoir: 2IE-1876-223, Portrait de jeune fille (app. à M. Legrand) =? 1875, SDbr, 71D141=72F184=85F180=07D495, Mademoiselle Legrand, 81×60, Philadelphia MA (iR2;R90II,p45+64;R2,p164;R108,no141;R30=R193,no184;R90,no180;R185,no495;R31,p197;M28) Provenance: M. Legrand.
Auguste Renoir: 2IE-1876-224, Frédéric Bazille, peintre tué à Beaune-la-Rolande; Appartient à M. Manet = CR28, 1867, Frederic Bazille Painting ‘The Heron’, 105×74, Orsay (iR2;R90II,p45+64;R2,p164+150;R108,no28;R31,no6;R30,no18;M1)
Auguste Renoir: 2IE-1876-225, la promenade = 1875-76, CR111, Mother and Children (la promenade), 170×108, Frick New York (iR22;R90II,p45+64;R2,p164;R108,no111;R30,no158;R31,p197;M37).
Auguste Renoir: 1880, SDtl, Paul Cézanne, pastel, 54×45, A2012/05/02 (iRx;iR11;R3,p346;R1,p475;R3,p346;R2,p164) Provenance: Former Chocquet collection. Expo: compare: 2IE-1876-226, Portrait de M. H… (pastel).
Auguste Renoir: 2IE-1876-226+hc, Self-portrait =!? 1875ca, CR157, Self-Portrait, 39×32, CAI Williamstown (iR2;R2,p164;R90II,p45+64;R108,no157;R30,no180;M26)
Henri Rouart: 2IE-1876-227, Chemin bordé d’Arbres (Normandie). Compare:
Henri Rouart: 2IE-1876-228, Ancien manoir. Compare:
Henri Rouart: 2IE-1876-229, Vieille ferme bretonne (étude). Compare:
Henri Rouart: 2IE-1876-230, Bords de l’Indre. Compare:
Henri Rouart: 2IE-1876-231, Chemin des Fourneaux (Melun). Compare:
Henri Rouart: 2IE-1876-232, Vue de Melun. Compare:
Henri Rouart: 2IE-1876-233, Enfants bretons. Compare:
Henri Rouart: 2IE-1876-234, Manoir de Graffard (Encre de Chine). Compare:
Henri Rouart: 2IE-1876-235, Dans un parc (sépia). Compare:
Henri Rouart: 2IE-1876-236, Chaumières. Compare:
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: 1876, SDbr, CR244=CCPP254, The watering place at Marly, hoarfrost, 38×55, Richmond VMFA (iR2;iR6info;R166,p172;M220) Provenance: Depeaux; sale GP1906/05/31-57; Durand-Ruel. Compare: 2IE-1876-238, Avenue de l’Abreuvoir, effet de givre, appartient à Mme Latouche.
Alfred Sisley: 2IE-1876-239, Une route aux environs de Marly; appartient à M. Martin. Compare: CCPP98 +CCPP100.
Alfred Sisley, 2IE-1876-240, Labreuvoir de Marly, en hiver; Appartient à M. Martin = 1875, SDbl, CR152=CCPP199, The Watering Place at Marly-le-Roi, 50×66, NG London (M61;iR2;R2,p186;R90II,p45;R129,no199) Provenance: 1876 Pierre-Firmin Martin; Depeaux; sale HD1901/04/25-48.
Alfred Sisley: 1878, SDbr, CR42 (1872) =CCPP319, Rest beside a stream (Edge of the wood), 74×81, Orsay (iR3;iR8;R53,p62;R38;R129,no42;R396,no319;R166,p36;M1) Provenance: Durand-Ruel till 1905/05/12 (1872/09/16 for 450fr; R53,p62). Expos: compare: Vienna-EU-1873, Woman seated by the water; compare: 2IE-1876-241, Le Bord d’un ruisseau, environs de Paris, appartient à M. Durand-Ruel; =DR1899-121; =DR1902-1.
Alfred Sisley: 2IE-1876-242, Le Chemin des Aqueducs, appartient à M. Durand. Two options: CCPP224 +122.
Alfred Sisley: 1875, SDbr, CR188=CCPP173, La Route de Versailles à Saint-Germain-en-Laye, 51×65, PGM Los Angeles (iR2;iR11;R38;R129,no188;R396,no173;M31) Expos: compare: 2IE-1876-243, Route de Saint-Germain, appartient à M. Martin; =DR1914-42. Provenance: Camentron; 1892/04/15 Durand-ruel till 1918/02/05.
Alfred Sisley: 2IE-1876-244, Inondations à Port-Marly, appartient à M. Legrand = 1876, SDbl, CR240=CCPP235, L’Inondation à Port-Marly, 60×81, Orsay (iR4;iR2;R17,p107;R2,p151;R53,p104;R129,no240;R396,no235;M1). Provenance: Legrand. Expo: GP1899-63.
Alfred Sisley: 1876, SDbr, CR237=CCPP232, (The boat during) The flood at Port-Marly , 50×61, MBA Rouen (HW18;iR27;iR11;iR2;R38;R90I,p63+83;R129,no237=CCPP232;M12) Expo: =?? 2IE-1876-244+hc1, Inondations à Port-Marly. Provenance: Guasco; sale GP1900/06/11-64; Schoengrun; Depeaux; sale GP1906/05/31-55.
Alfred Sisley: 2IE-1876-244+hc2, Maisons sur les bords de la Marne. Compare: two paintings depicting houses along a riverbank (R396,CCPP62+CCPP115). Note: maybe not exhibited, but refering to no.244 or hc1 wrongly mentioning it the Marne.
Charles Tillot (1825-1906): 2IE-1876-245, Le Chaos de Villers. Compare engraving Guillemet and painting Tillot.
Charles Tillot (1825-1906): 2IE-1876-246, Vue prise des hauteurs du Chaos de Villers. Compare painting Caillebotte and painting Tillot.
Charles Tillot (1825-1906): 2IE-1876-247, Falaises, à Villers. Compare painting Caillebotte and painting Tillot.
Charles Tillot (1825-1906): 2IE-1876-248, Falaises à mare basse. Compare watercolour Huet and painting Tillot.
Charles Tillot (1825-1906): 2IE-1876-249, Manoir de Graffard. Compare postcard and photo.
Charles Tillot (1825-1906): 18??, Sbl, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2) =? 2IE-1876-250 / 5IE-1880-195 / 6IE-1881-146, (Rochers et) plage à Villers
Charles Tillot (1825-1906): 2IE-1876-251, Plaine de Barbizon. Compare painting Rousseau and painting Tillot.
Charles Tillot (1825-1906): 2IE-1876-252, Intérieur du Bas-Bréau. Compare painting Rousseau and painting Tillot.
Clarification: On this page you find 286 pictures that give an impression of all the about 298 art-works that were exhibited at the 2nd ‘impressionist’ exposition in 1876.
The catalogue numbers 52+56 of Degas probably weren’t exhibited.
No. 67-72 of Desboutin showed each at least two works, but I render for each a compilation of pictures.
No.124 of Lepic showed 5 watercolours, but I render 1 picture with a compilation of 5 pictures.
No.182 of Morisot showed 3 pastel, but I render 1 picture with a compilation of 3 pastels.
Note: Ruth Berson renders 101 small black and white pictures of the art-works that were (probably) exhibited (R90II,p47-65).
Most of these pictures you will find at this page in full 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, the technique 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 more pictures (that give a good impression): nos. 2 +6 (Béliard); nos. 11 +13 +15 +16 (Bureau); no.24 (Caillebotte); no. 25 +26 +29 +31 (Cals); no.60-72+hc (Desboutin); no.50+53+55 (Degas); no.83-2 +87 (Legros); no.93 +95 +96 +97 +98 +101 of Levert; nos. 102 +103 +104 +106 +109 +110 +111 +113 +114 +115 +116 +118 +119 +121 +123 +124 (=5 pictures) +125 +126 (2x) +127 (2x) +128 +130 +132 +136 (Lepic); no.142 +144 +145 +146 (JB Millet); nos. 167 +169 +172 of Morisot; nos. 187 +189 +192 +195-3 +196-1 (Léon Ottin); no.209 +215 +220 +222 (Renoir); nos. 227 +228 +229 +230 +231 +232 +233 +234 +235 +236 of Rouart; no.232 +239 +242 +244hc2 of Sisley; nos. 245 +246 +247 +248 +249 +251 +252 (Tillot).
The following works I render to compare are insufficient: nos. 7 (Béliard); no.34 (Cals); 190 (Ottin) +226 (Renoir)
The following compilations are insufficient: no.5 (Béliard); no.11 +15 +16 (Bureau); no.32 (Cals); no.72 (Desboutin); nos. 73 +74 +75 +76 +77 + 78 +79 +80 (Jacques François); 133 (Lepic); no.141 +143 (JB Millet); nos. 183 +185 +186 +188 +190 +191 +193 +194 +195-1 +195-2 +195-4 +195-5 +195-6 +195-7 +196-2 +196-3 (Ottin).