Ludovic Ludovic Piette, 3IE-1877-132, Le marché de la place de l’Hôtel de Ville, à Pontoise. = 1876, The marketplace in front of the town hall at Pontoise, 111×186, MTD Pontoise (R89,p61;iR6;iR23;iR2;iR77;R2,p205+230;R90II,p79+97;M173).
What pictures were shown at the 3rd ‘impressionist’ exposition?
In 1877 the ‘3e exposition de peinture‘ was held in Paris. This exposition is now mostly called the 3rd ‘impressionist’ exposition. There were 18 partakers. The catalogue rendered the numbers 1-241, but in reality there were about 249 art-works exhibited. On this page you will find 215 pictures of these exhibited art-works. 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. On a smartphone or laptop you can also zoom in. Enjoy!
Gustave Caillebotte: 3IE-1877-1, Rue de Paris, temps de pluie = 1877, SDbl, 1CR52+2CR57, Paris street, a rainy day, 212×276, AI Chicago (iR5;iR2;R2,p208;R101,no52;R102,no57+p282;R90II,p69+85;M20) Expo: DR1894-47. Location: Rue de Turin towards Rue de Saint-Pétersbourg.
Gustave Caillebotte: 3IE-1877-2, Le pont de l’Europe = 1876, SDbr, 1CR44+2CR49, Le pont de l’Europe, 125×181, PP Geneva (iR2;R2,p210;R101,no44;R102,no49+p282;R90II,p69+85;R41,p97;M144) Expo: DR1894-6. Gift to Eugène Lamy.
Gustave Caillebotte: 3IE-1877-3, Portraits à la campagne = 1876, SDbl, 1CR31+2CR40, Portraits in the countryside, 95×111, MBG Bayeux (iR2;iR3;R2,p203;R101,no31;R102,no40+p282;R90II,p69+85;R41,p99). Sitters: Marie (left), Mme Martial (right).
Gustave Caillebotte: 3IE-1877-4, Portrait de Madame C… = 1877, SDbr, 1CR53+2CR58, Portrait of Mme. Martial Caillebotte (The artist’s mother), 83×72, private (iR2;R101,no53;R102,no58+p282;R90II,p69+85;R2,p203) Expo: DR1894-33; SdA1921-2701.
Gustave Caillebotte: 3IE-1877-5, Portraits = 1877, SDbr, 1CR54+2CR62, Portraits in an interior, 46×56, private (R2,p211;R101,no54;R102,no62+p282;R90II,p69+85). Sitters: Mme Godard + Mme Davaye. Gift to Henri Cordier.
Gustave Caillebotte: 3IE-1877-6, Peintres en bâtiments = 1877, SDbr, 1CR48+2CR53, The house painters, 89×116, Orsay (iR2;iR59;R2,p203;R101,no48;R102,no53+p282;R90II,p69+85;R41,p93;M1) =HD1877/05/28-3 (bought back); =DR1894-50; =SdA-1921-2710.
Adolphe-Félix Cals, 3IE-1877-7, La Cour Saint-Siméon, à Honfleur. Maybe: 1876-79, Honfleur Saint-Siméon, Grand Cour (la grande ferme à Honfleur), 35×54, private Caen (HW;iR6;iR35;R2,p203;R177,p36+95).
Adolphe-Félix Cals, 3IE-1877-8, Paysage à Saint-Siméon. Probably: 1876, Landscape with figures (at Saint-Siméon), 37×63, Philadelphia MA (iRx;iR59;R2,p212;R90II,p70+86;R175,no9)
Adolphe-Félix Cals: 18??, Mère avec son enfant et un chat, 19×19, A2016/05/25 (iR13;iR11;iR1) =?? S1850-440, Portrait de Mme D. R… et de son enfant; =??? 3IE-1877-9, Jeune Mère
Adolphe-Félix Cals, 3IE-1877-10, La Rue Varin à Honfleur. Probably: 1877, A street scene in Honfleur, 64×43, A1978/10/18 (R90II,p86+70;R2,p203;iR14)
Adolphe-Félix Cals: 3IE-1877-11, Femmes effilant de l’étoupe =1877, Women fraying linen (Effilleuses d’étoupe), Honfleur, 51×62, Orsay (iR39;iR23;iRx;R90II,p70+86;R2,p204;R16,p19;R152=aR2,p127+210;M1) Provenance: Hazard.
Adolphe-Félix Cals, 3IE-1877-12, Le coin du feu. Uncertain: 1859, A Peasant in Front of a Hearth, 28×36, Cherbourg MATH (iR39;iR10;R2,p203;R90II,p70). Compare: IE-1879-44, Le coin du feu (dessin).
Adolphe-Félix Cals, 3IE-1877-13, La mère Doudoux. Now: 1876, La mère Boudoux à sa fenêtre, 61×49, DGG Memphis (iR10;iR98;R2,p21;R90II,p70+86). Compare: 4IE-1879-45, La mère Doudoux (dessin).
Adolphe-Félix Cals, 3IE-1877-14, Femme couchée, étude = 1876, Nu couché, 34×60, xx (R90II,p86+70;R2,p204)
Adolphe-Félix Cals, 3IE-1877-15, Paysage, soleil levant. Maybe?: 18xx, Le Matin au village, 30×40, MNM Dijon (iRx;iR23;R2,p204;R90II,p70)
Adolphe-Félix Cals, 3IE-1877-16, Jeune femme, le matin. Maybe?: 18xx, Buste de jeune femme, bras pliés sur la poitrine, 34×28, A2010/03/18 (iR13;R2,p204;R90II,p70)
Paul Cézanne: 3IE-1877-17, Nature morte. Option: 1873-79ca, V196=FWN744, Pommes et gâteaux, 46×55, A2005/11/01 (iR11;iR194,no744;R189,no196;R90II,p186+70;R2,p203;R48,no195) =2SdA-1904-SPC-20, Nature morte (loan by Durand-Ruel); =London-GG-1905-43, Apples and Cakes (1877).
Paul Cézanne: 3IE-1877-18, Nature morte. Option: 1877-79 (1873-77), V197=FWN745, The desert (Still life with bottle glass fruit and dessert), 59×73, Philadelphia MA (iR10;iR94;iR6;iR59;iR194,no745;R189,no197;R90II,p87;R2,p194;R48,no196;M28) =London-GG-1905-39, Dessert (1878); =18SdI-1902-321, Nature morte.
Paul Cézanne: 3IE-1877-19, Nature morte. Option: 1873-77ca, V207=FWN742, Dish of apples (Le plat de pommes), 46×55, Metropolitan (iR2;iR59;iR194,no742;R189,no207;R90II,p87;R2,p203;R48,no206;M23) =2SdA-1904-SPC-21, Nature morte (loan by Durand-Ruel); =London-GG-1905-45, Apples (1877)
Paul Cézanne: 3IE-1877-20, Étude de fleurs =!? 1873-77, V182=FWN732, Sbl, Flowers in a blue vase, 55×46, Hermitage (iR10;iR114;iR2;iR59;iR194,no732;R189,no182;R90II,p187;R2,p203;R48,no215;M95)
Paul Cézanne: 3IE-1877-21, Étude de fleurs. Option: 1874 (1873-77), V181=FWN733, Vase of flowers (on a flower rug), 61×50, private (iR10;iR247;iR194,no733;R189,no181;R48,no217;R90II,p87;R2,p203) =Vienna-1903-64; =? London-GG-1905-48, Flowers in a vase (1880) (iR194,no733).
Paul Cézanne: 3IE-1877-22, Paysage; Étude d’après nature =!? 1875-76, V158=FWN102, (La Route) Le mur d’enceinte, 50×65, private (iR59;iR194,no102;R189,no158;R90II,p70+87;R2,p203;R48,no159) =London-GG-1905-40, The road (1872), lent by Galerie Durand-Ruel.
Paul Cézanne: 3IE-1877-23, Paysage, Etude d’après nature =!? 1876ca, V168=FWN96, The Sea at L’Estaque, 42×59, private Zurich (iR2;iR59;iR194,no96;R189,no168;R90II,p71+87;R2,p214;R48,no172;R163,p67)
Paul Cézanne: 3IE-1877-24, Paysage, Etude d’après nature =!? 1875-77, V171=FWN99, View on the surroundings of Auvers-sur-Oise, 60×50, private (iR2;iR194,no99;R189,no171;R90II,p88;R2,p203;R48,no175)
Paul Cézanne: 3IE-1877-25, Paysage; Étude d’après nature =? 1875-77, V173=FWN107, La Côte des Boeufs (Saint-Denis), Pontoise, 65×54, private (iR2;iR194,no107;R189,no173;R90II,p88+71;R2,p203;R48,no176) =London-GG-1905-44, In the woods (1883), lent by Galerie Durand-Ruel.
Paul Cézanne: 3IE-1877-26, Les baigneurs, étude, projet de tableau. Option 1: 1875-77ca, V276=FWN926, Bathers at Rest, 82×101, Barnes Philadelphia (iR6;M25,BF906;aR11,p413;iR2;iR194,no926;R48,no287;R189,no276;R90II,p71;R2,p204;R48,no287;R174,p102-105+301) Provenance: Caillebotte; =? bequest; Expos: =Vollard-1895; =3SdA-1905-320, Les Baigneurs.
Paul Cézanne: 3IE-1877-28, Figure de femme, étude d’après nature =? 1877ca, V228=FWN441, Portrait of Mme Cézanne with bowed head, 26×30, xx (iR246;iR248;iR194,no441;R189,no228;R2,p204;R48,no229)
Paul Cézanne: 3IE-1877-29, Tête d’homme, étude =1876-77, V283=FWN437, Ccl, Portrait of Victor Chocquet, 46×37, private NY (iR3;iR2;iR59;iR194,no437;R189,no283;R90II,p29;R2,p215;R48,no243;R163,p67)
Paul Cézanne, 3IE-1877-30, Aquarelle, impression d’après nature. Probably: 1867-70, FWN1013, Rocks, wc, 23×35, Städel Frankfurt aM (iR194,no1013;iR10;iR132;R90II,p71+88;R2,p204)
Paul Cézanne, 3IE-1877-31, Aquarelle, impression d’après nature. Probably: 1867, FWN1014, La Route Montante, wc, 21×35, EBM Tokyo (iR194,no1014;R90II,p71+89;R2,p204)
Paul Cézanne, 3IE-1877-32, Aquarelle, fleurs =1865-79, FWN1900, Flowers and fruit, wc, 18×14, private (iR194,no1900;R90II,p71+89;R2,p204)
Paul Cézanne: 3IE-1877-32+hc, Scène Fantastique, Les pêcheurs =1873-75ca, V243=FWN634, Sbr, The fishermen (Fantasy scene; a day in July), 54×81, Metropolitan (iR2;iR194,no634;R189,no243;R2,p213;R90II,p72+89;R48,no261;M23)
Edgar Degas, 3IE-1877-37, Femmes devant un café, le soir; appartient à M. C. = 1877, CR419, Women on a Café Terrace in the Evening, pastel over monotype, 41×60, Orsay (iR2;iR59;R26,no430;R90I,p181;R90II,p72+89;R27,p42;R2,p204+197;M1) Caillebotte bequest.
Edgar Degas, 1873ca, CR398, The Dance Class, 48×62, NGA Washington (M21;iR377;iR2;R26,no490;R47,p63;R114,no398;R2,p204;R90II,p72) = expo London 1876,no.131 =!? 3IE-1877-38, École de danse; Appartient à M. H.H.
Edgar Degas: 3IE-1877-39, Ballet =? 1878, CR491, The star (dancer on a stage), pastel over monotype, 58×42, Orsay (iRx;R26,no520;R90II,p72+89;R90I,p163;R2,p204;M1) Caillebotte bequest.
Edgar Degas: 3IE-1877-40, Danseuse, un bouquet à la main = 1877, CR418, Dancer With Bouquet, pastel + gouache + thinned oil (tempera), 67×38, Orsay (iR53;iR59;R26,no499;R90I,p186;R2,p204;R90II,p72+90;R114,no418;M1) Provenance: Camondo (till 1911).
Edgar Degas: 3IE-1877-41, Danseuses à la barre. Option 1: 1876-77, CR408, Dancers Practicing at the Barre, thinned oil, 75×80, Metropolitan (iR2;iR59;aR23;R90II,p72+90;R2,p204+217;R26,no497;R114,no408;M23). Rouart collection (R45).
Edgar Degas: 1876-77, CR404, The Cafe Concert, pastel on monotype, 24×43, NGA Washington (M21;iR2;aR23;R26,no411;R2,p204+354+360;R90II,p72+90;R205,no26) =!? 3IE-1877-43, Café-concert Compare: 6IE-1881-19+hc3-3, (Drawings and sketches: Chanteuses en scène)
Edgar Degas: 3IE-1877-44, Café-concert =!? 1875-77ca, CR405, Café Concert at ´Les Ambassadeurs´, pastel over monotype, 37×27, MBA Lyon (iR2;iR59;R26,no413;R2,p204+354;R90II,p73+90) Compare: 6IE-1881-19+hc3-3, (Drawings and sketches: Chanteuses en scène). Note the effect of light and the low perspective.
Edgar Degas: 3IE-1877-45, Femme sortant du bain; appartient à M. C. =!? 1877ca, CR422, Woman Leaving Her Bath, pastel on monotype (lithograph), 16×22 (23×31), Orsay (iR2;aR23=MS1240;R205,no175;R26,no427;R90II,p73+90;R2,p204+195;R114,no422;M1) Caillebotte bequest.
Edgar Degas: 1876-77, CR890, Woman drying herself after the bath (Woman at her toilette), pastel over monotype, 46×60, NSM Pasadena (iR2;aR23=MS1075;R205,no152;R90II,p73+91;R26,no932;R114,no890;M43) =? 3IE-1877-46, Femme prenant son tub le soir. Compare: 2IE-1876-55, Femme se lavant le soir. Provenance: before 1887 Boussod-Valadon; till 1922ca. Monet.
Edgar Degas, 3IE-1877-47, Choristes; appartient à M. C. = 1877, CR420, The Chorus (Les Figurants), pastel over monotype, 27×31, Orsay (iR2;iR59;R90II,p73+91;R26,no416;R114,no420;R2,p204;M1) Caillebotte bequest.
Edgar Degas, 1873-76ca, CR341, The ballet class, 85×75, Orsay (iR2;R26,no479;R114,no341;R2,p204;R90II,p7;M1)=?? 3IE-1877-48, Classe de danse. Not 1IE-1874-55, Classe de danse; appartient à M. Brandon.
Edgar Degas, 3IE-1877-49, Portrait de monsieur H.R… = 1875, CR373, Henri Rouart in front of His Factory, 65×50, Carnegie Institute Pittsburgh (iR2;R26,no392;R27,p53;R2,p218;R90II,p73+91)
Edgar Degas, 3IE-1877-50, Bains de mer, petite fille peignée par sa bonne = 1870-77ca, CR406, Beach Scene, thinned oil, 46×81, NG London (iR2;iR59;R26,no410;R90II,p73+91;R2,p204+201;M61)
Edgar Degas: 1875-76 (+1880s), CR377, Peasant Girls Bathing in the Sea at Dusk, 65×81, NG London (iR2;R26,no396;R114,no377;R90II,p36+50;73+91;R2,p204+161+176;M61) =2IE-1876-56, Petites paysannes se baignant à la mer vers le soir (probably not exhibited) = 3IE-1877-51, Petites filles du pays se baignant dans la mer à la nuit tombante (maybe not exhibited)
Edgar Degas: 1877-78ca, CR448, Two Dancers Entering the Stage, pastel over monotype, 32×29, Harvard Cambridge (iR2;R26,no506;R2,p204;R90II,p73;R90I,p181;M32) Compare: 3IE-1877-52, Coulisses de théâtre. Provenance: Vollard; 1918 Bernheim jeune.
Edgar Degas: 1867, CR165, Josephine Gaujean, 59×44, ISGM Boston (iR2;iR10;iR8;iR1;R26,no224;R47,p8+34;R27,p93;R90II,p73/74+91;R90I,p167+181) =S1869-661, Portrait de Mme G… =? 3IE-1877-53, Portrait
Edgar Degas: CR163, 1867, Portrait of a young woman (Rose Adelaide Aurore de Gas, Ducess Morbelli de Sancto Angelo??), 27×22, Orsay (iR2;R2,p219;R90II,p73/74;R26,no223;M1). =?? 3IE-1877-54, Portrait (Maybe not exhibited). Note the rendering of the character.
Edgar Degas, 3IE-1877-55, Billard. Compare: 1892, CR1114, The Billiard Room at Menil-Hubert, 51×65, Sg Stuttgart (iR2;R26,no1157;R2,p204)
Edgar Degas: 3IE-1877-56, Cabinet de toilette =!? 1879ca, CR547, Woman squatting, pastel over monotype, 18×13, Orsay (iR2;iR10;iR23;aR23=MS1235;R205,no191;R26,no868;R90I,p173;R90II,p73+92;R2,p204;M1) =Caillebotte bequest
Edgar Degas, 1878ca, CR490, Dancer with a bouquet of flowers (The Star of the ballet), p+g, 81×66, JPGM Los Angeles (iR53;R26,no519;R2,p204;R90I,p164;M31) =?? 3IE-1877-57, Ballet
Edgar Degas: 3IE-1877-58-1, Dessins faits à l’encre grasse et imprimés =? 1876-77ca, Ludovic Halévy speaking with Madame Cardinal (from Ludovic Halévic: La famille Cardinal), print after pastel on monotype, 27×18, A2023/07/23 (iR17;iR7;iR2;iR15;iR10;aR21;M22;M152;R2,p204;aR21;R90II,p74)
Edgar Degas: 3IE-1877-58-2, Dessins faits à l’encre grasse et imprimés =? 1876-77ca, Ludovic Halévy finds Mme Cardinal in the dressing room (from Ludovic Halévic: La famille Cardinal), print after monotype, 21×16, MFA Boston (M22;M152;aR21;iR10)
Edgar Degas: 3IE-1877-59-1, Dessins faits à l’encre grasse et imprimés =? 1876-77ca, Virginie being admired while the Marquis Cavalcanti looks on (from Ludovic Halévic: La famille Cardinal, p85), monotype + pastel, 16×12, NGA Washington (M21;iR8;iR11;iR10;aR21;R2,p204;R90II,p74)
Edgar Degas: 3IE-1877-59-2, Dessins faits à l’encre grasse et imprimés =? 1876-77ca, Pauline and Virginie Cardinal conversing with admirers (from Ludovic Halévic: La famille Cardinal), monotype, 21×16, Harvard Cambridge (iR10;iR91;iR11;aR21;R2,p204;R90II,p74;M32)
Edgar Degas: 3IE-1877-60-1, Dessins faits à l’encre grasse et imprimés =? 1876-77ca, In the rain (from Ludovic Halévic: La famille Cardinal), print after monotype, 16×11, private (aR21;M22;M152;iR10)
Edgar Degas: 3IE-1877-60-2, Dessins faits à l’encre grasse et imprimés =? 1876-77ca, The famous good friday dinner (from Ludovic Halévic: La famille Cardinal), print after monotype, 21×16, private (aR21;M152;M22;iR10)
Edgar Degas, 1875ca, CR365, Ballet Rehearsal, 55×68 , NAMA Kansas City (iR2;iR26,no485;R114,no365;R90I,p157;R90II,p74+92;R2,p204;M42) =!? 3IE-1877-61, Répétition de ballet
Edgar Degas: 1876, CR393, In a café (The Absinthe drinker), 92×68, Orsay (iR2;R26,no399;R90II,p35+74+92;R2,p147+161+204;R8,p22;M1) =3IE-1877-61+hc, L’Absinthe = 2IE-1876-52, Dans un café (probably not exhibited). Depicting Ellen André + Desboutin in Café Nouvelle Athènes.
Armand Guillaumin: 3IE-1877-62, Le parc d’Issy en automne =?? 1876ca, CR49, Tall trees in autumn, 180×123, Ng Oslo (iR10;iR64;R2,p400;R90II,p203;R179,G9;M92) = former Gauguin collection. Also option for: 3IE-1877-67+72, Le parc d’Issy.
Armand Guillaumin, 3IE-1877-63, Route de Clamart à Issy =!? 1873-75ca, CR32, Environs de Paris (Surroundings of Paris), 61×100, Birmingham CMAG (iR10;iR173;iR2;iR8;R17,162;R2,p204;R90II,p74+92;R124,no32)
Armand Guillaumin, 3IE-1877-64, Viaduc de Fleury =? 1874 (04), CR34, SDbr, The Arcueil aqueduct at Sceaux railroad crossing, 52×65, AI Chicago (iR10;iR6;iR30;R90II,p74;R2,p204;R179,G7;R124,no34;M20)
Armand Guillaumin, 3IE-1877-65, Rue de Saint-Cloud, à Clamart + 70, Rue de Trosy, à Clamart + 73, Rue, à Clamart = ?? 1875ca, CR-, Promenade (une rue), Île-de-France, 65×81, private (iR10;iR338;R2,p204)
Armand Guillaumin, 3IE-1877-66, Lavoir, à Billancourt. Compare: 1880ca, Lavoir à Charenton (laundry boat at Charenton), 46×55, A2005/02/09 (iR11;iR22;R2,p204)
Armand Guillaumin: 3IE-1877-67, Le parc d’Issy =?? 1875ca, CR40, Paysage de la Vallee de Chevreuse, 100×60, xx (R124,no40;R2,p204) = former Durand-Ruel collection. Also an option for 3IE-1877-62 + 72, Le parc d’Issy (en automne).
Armand Guillaumin, 3IE-1877-68, Le coteau de Meudon =?? 1877, CR-, SDbr, Valley near Issy-les-Moulineaux, 46×55, MBH Bayonne (iR22;iR10;R179,G10;R2,p204;M191)
Armand Guillaumin, 3IE-1877-69, Le Val Fleury =? 18xx, Viaduct at Val-Fleury, Meudon (Hauts-de-Seine), xx, xx (iR155;iR10;R2,p204)
Armand Guillaumin, 3IE-1877-65, Rue de Saint-Cloud, à Clamart + 70, Rue de Trosy, à Clamart + 73, Rue, à Clamart = ?? 1877ca (or 1892ca), CR256, Turning road, 47×55, A2011/06/23 (iR2;iR14;iR11;R1,p359;R2,p204)
Armand Guillaumin: 3IE-1877-72, Le parc d’Issy =?? 1876ca, CR48, Vallee de Chevreuse, en automne, 73×60, private (R124,no48;R2,p204). Also option for: 3IE-1877-62+67, Le parc d’Issy (en automne).
Armand Guillaumin, 3IE-1877-65, Rue de Saint-Cloud, à Clamart + 70, Rue de Trosy, à Clamart + 73, Rue, à Clamart = ?? 1870, CR-, SDbl, A street in Île-de-France, 73×59, A2016/05/13 (HW;iR15;iR11;iR2;R2,p204)
Léopold Levert: 18xx, Animated landscape, 21×30, A2022/02/06 (aR7;R2,p204;aR2) =?? HD1883/02/26-29, Près Sucy-en-Brie; =?? HD1883/02/26-32, Village d’Orny.
Compare: 3IE-1877-80, Paysage du Limousin + HD1883/02/26-36, Paysage du Limousin.
Jean-Baptiste-Léopold Levert: 18xx, Sbr, Untitled landscape, work on paper, watercolour + ink wash, 29×35, A2018/12/15 (iR10;aR2;iR17;R2,p205) Compare: 3IE-1877-81, Étude à Malesherbes
Jean-Baptiste-Léopold Levert: 3IE-1877-82, Route sur le plateau de Fontenay. Compare:
Jean-Baptiste-Léopold Levert: 3IE-1877-83, Sablonnière, forêt de Fontainebleau. Compare:
Jean-Baptiste-Léopold Levert: 3IE-1877-84, Étude de foret. Compare:
Jean-Baptiste-Léopold Levert: 1IE-1874-85 + 3IE-1877-85, Moulin de Touviaux. Compare:
Alphonse Maureau, 3IE-1877-87+88, Bords de la Seine =!? 1871, SDbr (LAIM71 (?), The Seine at Neuilly, 27×41, private (iR2;iR6;R2,p205). =!? Pau1879-237, ‘La Seine à Neuilly’. Compare Daubigny.
Alphonse Maureau, 3IE-1877-87+88, Bords de la Seine =!? 1877ca, Banks of the Seine, 15×24, Florence GAM (R2,p220+205;iR6;iR2;iR11;R90II,p75+93;R89,no31;R3,p289) Note: The signature is written vertically in the sail of the boat.
Claude Monet, 3IE-1877-90, La prairie. Maybe??: CR378, 1875, Meadow with Poplars near Argenteuil, 55×66, MFA Boston (iRx;R22+R127,CR377;R90II,p75;M22,no.23.505)
Claude Monet, 3IE-1877-91, La mare à Montgeron. Probably: 1876, CR419, The Pond at Montgeron (study), 60×82, private (iR51;R2,p205;R90II,p93;R22+R127,CR419)
Claude Monet, 3IE-1877-92, Paysage d’automne= CR432, 1876, Wood lane, autumn, 72×60, xx (R22II,p175=CR432;R90II,p93;R2,p205)
Claude Monet: 3IE-1877-93, Les Dahlias, Montgeron, appartient à M H… =? 1876, CR417, The Rose bushes in the Garden at Montgeron, 60×81, MB Potsdam (iR2;iR8;R22+R127,CR417;R90II,p93;R2,p205). Provenance: Hoschedé (1876/12), sale HD1878/06/05-58 (130fr), Faure.
Claude Monet: 3IE-1877-94, Prairie, appartient à M. Duret = 1876, CR405, In the Meadow, 60×82, A2009/02/04 (iR51;iR15;R22+R127,CR405;R2,p205;R90II,p93). Provenance: Duret (1877ca); sale: GP1894/03/19-28.
Claude Monet, 3IE-1877-95 Les Tuileries, app. M. Bellio = CR401, 1876, The Tuileries, 54×73, Marmottan (iR2;R22+R127,CR401;R2,p205;R90II,p93;M2,no.4016)
Claude Monet: 3IE-1877-96, Paysage, Le parc Monceau (app. à M. Bellio) = CR398, 1876, The Parc Monceau, Paris, 60×81, Metropolitan (iR2;R22+R127,CR398;R2,p221;R90II,p94;M23,no.59.206) Provenance: G. de Bellio (1876/06/25)
Claude Monet: 3IE-1877-97, Arrivée du train de Normandie, gare St-Lazare, appartient à M. H… =? CR439, 1876, Arrival at Saint-Lazare Station, 82×101, FAM Cambridge (iR2;M32,no.1951.53). Mostly suggested for no.100 (R22,CR439;R2,p222;R90II,p94) Provenance: Ernest Hoschedé.
Claude Monet: 3IE-1877-98, Le pont de Rome (Gare St-Lazare) =!? CR442, 1877, Le Pont de l’Europe, Saint-Lazare Station, 64×81, Marmottan (iR2;R22=R127,no442;R2,p224;R90II,p94;R321-1;M2,no.4015) Provenance: 1877/03 de Bellio; 1894 Donop de Monchy. Expos: DR1883-17; GP1889-M+R-34; EU-1900-C-480, Le Pont de l’Europe (appartient à M. Donop de Monchy); PR-XIX-1922-58.
Claude Monet, 3IE-1877-99 portrait d’enfant (app. M. H.) = CR434, 1876-77, Germaine Hoschedé with her doll, 81×60, private (iR51;R22+R127,CR434;R2,p205;R90,p94)
Claude Monet: CR440, 1877, SDbl, Saint-Lazare station, the Normandy train, 60×80, AI Chicago (iR2;R90I,p130+180;R231-1;M20,no.1933.1158) Provenance: 1877/03 Ernest Hoschedé; 1878 G. de Bellio; 1894 Donop de Monchy; 1899ca Bernheim-Jeune; Paul Rosenberg; 1911 Durand-Ruel. Expos: -? 3IE-1877-100, La gare St-Lazare, arrivée d’un train, app M. H… (note: mostly suggested for no.97, see R22,CR440;R2,p222;R90II,p94;M20) Expos: =6EIPS-1887-hc; =GP1889-M+R-33; =EU-1900-C-484, Le Train de Normandie (appartient à M. Alexandre Bernheim jeune); =LE-1904-PI-98; NYDR1911-8.
Claude Monet: 3IE-1877-101, Les dindons (décoration non terminée), appartient à M. H. = CR416, 1877, Turkeys (at the Château de Rottembourg at Montgeron), 172×175, Orsay (M1,RF1944.18;iR2;R2,p225;R90II,p94;R22+R127,CR416) =GP1889-31; =17LE-1910-147; Provenance: Hoschedé (1 of 4 decorative panels); de Nittis (1878?); Duret (1884); =GP1894/03/13-24; Depeaux (1903ca); =GP1906/06/01-27
Claude Monet: 3IE-1877-102, Vue Intérieur de la Gare St-Lazare, à Paris = CR438, 1877, Saint-Lazare station (view of the interior), 75×100, Orsay (iR2;R90I,p169+181;R22+R127,CR438;R2,p227;R90II,p95;M1,RF2775) =NY-AAG+NAD-1886-203. Provenance: 1878 Caillebotte, 1894 bequest
Claude Monet, 3IE-1877-103, La maison du passeur à Argenteuil = CR329, 1874, River banks at Argenteuil (The ferryman’s house), 55×65, destroyed 1950ca (R22II,p138=CR329;R2,p329;R90II,p95)
Claude Monet: CR327, 1874, SDbr, The Seine near Argenteuil, 55×66, private (iR2;R2,p205;R90II,p77+292;R22+R127,CR327) Provenance: april 1876 Gustave Manet. Expo: =? 3IE-1877-104, Marine, appartient à M. (Gustave) Manet
Claude Monet: 3IE-1877-105 Tuileries, esquisse = CR403, 1875-76, The Tuileries (study), 50×74, Orsay (iR2;R22+R127,CR403;R2,p205;R90II,p95;M1,RF2705) Provenance: 1877/05 Caillebotte; 1896 Musée de Luxembourg
Claude Monet, 3IE-1877-106, Corbeille de fleurs. Compare: 1878, CR492a, Chrysanthemums, 54×61, private (iR2;R22,CR492a)
Claude Monet: 3IE-1877-107, La plaine de Gennevilliers = CR437, 1876-77, The plain at Gennevilliers, 50×61, A2017/11/14 (iR2;iR15;R22+R127,CR437;R2,p205;R90II,p95) =Caillebotte bequest, rejected
Claude Monet: 3IE-1877-108, Effet d’Automne à Montgeron, appartient à M. H… = 1876, CR431, Sous-bois (Wood Lane), 73×54, private (iR51;R22;R90II,p95;R2,p205) Provenance: Hoschedé.
Claude Monet, 3IE-1877-109, Le châlet. Maybe: CR422, 1876, the house at Yerres, 80×61, private (iRx;R22+R127,CR422;R2,p205)
Claude Monet: 3IE-1877-110, Marine (Sainte-Adresse) =!? 1867, CR94, A hut at Sainte-Adresse, (the Cabin), 52×62, MAH Geneva (iR2;R22+R127,CR94;R2,p205;R90II,p95;M141,no.1990-45) =Le Havre-1868-852 =LVM-1880-15 =GP-1889-6.
Claude Monet, 3IE-1877-111, Le grand quai au Hâvre (esquisse) = 1872, CR295, The Grand Quai at Le Havre, 61×81, Hermitage (iR51;R22+R127,CR295;R2,p205;r90II,p96;M95,no.3KP523)
Claude Monet: 3IE-1877-112, Un jardin, appartient à M. H…. =? 1877, CR418, A Corner of the Garden at Montgeron, 172×193, Hermitage (iR51;R2,p205;R22+R127,CR418;M95,no.9152) Commissioned by Hoschedé.
Claude Monet: 1873, CR204, SDbl, Lilacs in the sun, 50×65, Pushkin (iR10;R2,p205;R22+R127,CR204;M96,no.3311) Provenance: 1873/02 Durand-Ruel. Expos: =?? 3IE-1877-113; =DR1899-3.
Claude Monet, 3IE-1877-114, Portrait. Probably: 1877, CR436, Camille holding a Posy of Violets, 116×88, private (iR10;iR94;R22+R127,CR435;R2,p205;R90II,p96)
Claude Monet: 3IE-1877-115, Intérieur d’appartement; appartient à M.G.C. = CR365, 1875, SDbl, A corner of the appartement, 80×60, Orsay (iR2;iR40;R22=R127,no365;R2,p228;R90II,p96;M1,RF2776) Provenance: HD1875/03/24-14, un coin d’appartement (81x60cm) -> bought back by Monet for 325fr; 1876 Caillebotte; 1894 bequest -> 1896 Musée du Luxembourg. Expos: =GP-6EIPS-1887-72; =? DR-1899-4;
Claude Monet: 3IE-1877-117, Intérieur de la gare St-Lazare, à Paris =? CR441, 1877, Saint-Lazare Station, 54×73, NG London (iR2;R90I,p139;R22,CR441;R2,p205;M61,no.6479)
Claude Monet, 3IE-1877-119, Le jardin des Tuilleries = CR402, 1876, The Tuileries garden, 60×80, private (R22+R127,CR402;R2,p205;R90II,p96)
Claude Monet: 3IE-1877-119+hc1, La gare Saint-Lazare à l’exterieur =!? CR448, 1877, Exterior of Saint-Lazare Station (The Signal), 65×82, NLm Hanover (iR2;R90I,p139+187;R90II,p96;R2,p205;R22+R127,CR448;M56,no.PNM941) Provenance: 1878/03/10, Gustave Caillebotte; 1896 Martial Caillebotte
Claude Monet: CR445, 1877, Tracks coming out of Saint-Lazare Station, 60×80, Pola MA Kanagawa (iR2;R22,no445;R90I,p181+164) =? 3IE-1877-119+hc2, La gare Saint-Lazare à l’exterieur
Claude Monet: CR446, 1877, Exterior view of Saint-Lazare Station (the Western Region Goods Sheds), 60×80, A2018/06/20 (iR2;iR15;R22,CR446;R90I,p181+187+164) =? 3IE-1877-119+hc3, La gare Saint-Lazare à l’exterieur.
Berthe Morisot, 3IE-1877-120, Tête de jeune fille =1876, CR67, Woman with Fan (Head of a Girl), 62×52, A2013/05/07 (iR2;iR11;iR59;R2,p229;R90II,p96)
Berthe Morisot: 3IE-1877-121, La Psyché =1876, 1=2CR64, Psyche, 65×54, TBC Lugano or MTB Madrid (iR4;iR2;iR59;R90II,p78;R186,no64;M100) Provenance: Doria; sale 1899/05/04-57; Durand-Ruel. Expos: DR1902-10; London-1905-GG-159.
Berthe Morisot, 3IE-1877-122, La Terrasse =1874, CR37, On the Terrace, 45×54, FAM Tokyo (iR2;iR59;iR5;Mx;R2,p205;R90II,p97). Rouart collection (R45).
Berthe Morisot, 3IE-1877-123, Jeune femme à sa toilette. Maybe: 1877, CR72, Young Woman Powdering Her Face, 46×38, Orsay (iR2;iR23;R42,p33;R3,p160)
Berthe Morisot: 3IE-1877-125, Pastel =1877, BW434, Dreamer, pastel, 50×61, NAMA Kansas City (iR10;M42;iR59;R90II,p97)
Berthe Morisot, 3IE-1877-126, Vue de la Tamise, pastel =1875, CR431, Bateaux sur La Tamise (Ships on the Thames), pastel, 31×48, xx (iR6;R100,p52;R90II,p78)
Berthe Morisot, 3IE-1877-127, Aquarelle. Maybe(?): 1876, CR636, Jeune femme en robe noir (young woman in a black dress), wc, 12×8, xx (iR6;R100,p63;R90II,p78)
Berthe Morisot: 1879, BW80, Woman Picking Flowers (In the Bois de Boulogne), 61×75, Nm Stockholm (iR8;iR2;iR59;R100,no80;R90II,p152;R2,p312;M91) Expos: =5IE-1880-119, Jardin. Compare: 3IE-1877-131+hc, pastel (R90I,p157).
Ludovic Ludovic Piette, 3IE-1877-132, Le marché de la place de l’Hôtel de Ville, à Pontoise. = 1876, The marketplace in front of the town hall at Pontoise, 111×186, MTD Pontoise (R89,p61;iR6;iR23;iR2;iR77;R2,p205+230;R90II,p79+97;M173).
Ludovic Ludovic Piette, 3IE-1877-133, Marché de Pontoise, place du Grand-Martroy =1876, Pontoise, le Marché, place du Grand Martroy, 34×46, MTD Pontoise (aR27;iR23;R2,p205;R90II,p79+98;M173)
Ludovic Piette, 3IE-1877-136, Cour de l’hôtel de Cluny, à Paris. Maybe?: 1876, Personnages dans la cour pavée du Hôtel (Musée) de Cluny, 54×38, A2005/04/29 (iR13;R2,p205;R90I,p156).
Ludovic Piette, 3IE-1877-137, Marché aux volailles, au Mans. Compare: 18xx, Place du marché à Mantes, 54×41, A2008/02/15 (iR10;iR255;iR13;iR11;R2,p205)
Ludovic Piette, 3IE-1877-138, Marché aux légumes, à Pontoise. Option 1: 1876, Pontoise, Le marché aux légumes, Place du Petit Martroy, 73×48, MTD Pontoise (aR27;iR6;iR23;R2,p205;M173)
Ludovic Piette, 3IE-1877-140, L’Arrivée au marché (effet de neige) = 1876, SDbr, L’arrivée au marché, ?cm, xx (R90II,p98;R2,p205)
Ludovic Piette, 3IE-1877-141, Fête de l’Hermitage à Pontoise. Compare: 1873, Rue de l’Hermitage à Pontoise, ?cm, xx (iR94;iR10;R2,p205)
Ludovic Piette, 3IE-1877-143, Fleurs. Maybe?: 1862, Bouquet de fleurs au chapeau de paille, 41×65, A2017/09/27 (iR42;iR10;R2,p205)
Ludovic Piette: 3IE-1877-144, Fleurs. Maybe?: 18xx, Flower basket at the riverbank, 83×72, A2010/11/12 (iR13;R2,p205) =? HD1882/04/14-14, Fleurs dans un pannier (aR15=iR40)
Ludovic Piette, 3IE-1877-145, Marché aux vaches, place des Jacobins, au Mans =18xx, Marché aux vaches place des Jacobins au Mans, ?cm, xx (iR10;R90II,p98;R2,p205)
Ludovic Piette, 3IE-1877-148, Fête des Fossés, à Pontoise (aquarelle). Compare: 1877, Fête, boulevard des Fossés, Pontoise, 85×125, MTD Pontoise (iR6;iR77;iR23;R2,p205;M173)
Ludovic Piette, 3IE-1877-149, Cirque forain (aquarelle). Maybe: 1875, SDbr, La Foire, Le Mans, 38×55, Axx (iR136;R2,p205). Compare: HD1877/03/24-11, Cirque Bazola (Foire de Mans), wc (R90II,p79/80;aR12=iR40)
Ludovic Piette, 3IE-1877-152, Vue de Pontoise (aquarelle). Maybe?: 1875, Vue prise en haut de la rue du Château, gouache, 63×43, MTD Pontoise (iR94;iR23;iR10;iR64;R2,p205;M173)
Ludovic Piette, 3IE-1877-153, Jardin de la Ville, au Mans (aquarelle). Maybe: 1875, SDbl, Figures in a Public Garden in Mans, g, 33×63, A1979/12/04 (iR136;iR15;iR2;iR13;iR6;iR11;iR17;R90II,p79/80;R2,p205) =S1876-2836, Vue du Mans; aquarelle (iR1); = HD1877/03/24-1, Vue de Mans, prise du jardin de la ville (Salon 1876) (aR12=iR40).
Ludovic Piette, 3IE-1877-154, Fête de l’Hermitage à Pontoise (aquarelle). Compare: 1871/09/01, Jour de marché à Pontoise, gouache, 49×35, A2012/07/01 (aR4;iR10;R2,p205)
Ludovic Piette, 3IE-1877-156, Jardin (aquarelle). Maybe?: 18xx, Puits et dépendance d’un château sous la neige (le jardin sous la neige), gouache, 12×20, A2007/06/27 (iR13;iR10;R2,p205)
Ludovic Piette, 3IE-1877-157, Bois en automne (aquarelle) =? HD1875/03/23-53, Bois en automne, aquarelle. Maybe?: 1873, La marché dans la forêt (a walk in the forest), gouache, 12×29, A2006/03/23 (iR13;iR11;R2,p205;aR11=iR40)
Ludovic Piette, 3IE-1877-158, Chute des feuilles (aquarelle) =? HD1875/03/23-23 =? HD1879/02/20+21,no.57, La Chute des feuilles, wc. Maybe?: 1872, Paysage, mix, 24×34, A2014/02/26 (iR13;iR10;R2,p205;aR11=iR40;aR13=iR40)
Ludovic Piette, 3IE-1877-160, Battage du grain à la mécanique (aquarelle). =!? 18xx, La Batteuse (the threshing machine), gouache, 23×32, HD1914/01/01-54 (iR40;R2,p205) =? HD1875/03/23-19, Battage de blés à la mécanique (aR11=iR40) =? HD1877/03/24, no.41, Battage de blés à la mécanique (Mayenne); or no.48, Battage de blés à la mécanique (R90II,p80;aR12=iR40).
Ludovic Piette, 3IE-1877-162, Fauche des foins (aquarelle). Maybe: 1876ca, Haymakers at Montfoucault (La fauche des foins), 30×36, A2011/03/16 (iR2;iR11;iR6;R2,p206)
Camille Pissarro: 1877, CCP489, Red roofs, côte Saint-Denis, Pontoise, winter effect, 55×66, Orsay (iR2;iR59;R2,p199+270;R116,CCP489;R90II,p80+98;M1) Provenance: Caillebotte bequest. Expos: =3IE-1877-163, Côte Saint-Denise à Pontoise, appartient à M. C. ; =4IE-1879-181, L’Hermitage, vue de ma fenêtre; appartient à M. G. C…
Camille Pissarro, 3IE-1877-164, Le verger, côte Saint-Denis. Now: 1877, CCP488, Côte des Boeufs, Pontoise, 115×88, NG London (iR2;iR59;R2,p193;R116,CCP488;R90II,p80+99;M61)
Camille Pissarro: 3IE-1877-165, Sous-bois, Côte Saint-Denis, à Pontoise =!? CCP490, 1877, L’Hermitage viewed from the Côte Saint-Denis, Pontoise, 66×54, MFA London (iR10;iR64;R116,CCP490;R2,p206)
Camille Pissarro: 3IE-1877-166, Jardin des Mathurins, à Pontoise. Now: CCP448, 1876, Garden at Les Mathurins, 113×165, NAMA Kansas City (iR10;iR6;iR59;iR2;R2,p231;R116,CCP448;R90II,p81+99;M42)
Camille Pissarro, 3IE-1877-167, Coin du Jardin des Mathurins, Pontoise. Probably: 1877, CCP503, In the Garden at Les Mathurins, 165×125, private (iR2;R116,CCP503;R2,p206;R90II,p80)
Camille Pissarro, 3IE-1877-168, Sentier près les Mathurins, Pontoise. Perhaps: 1875, CCP407, View of the Côte des Gratte-Coqs, Pontoise, 39×56, Km Basel (iR10;R116,CCP407;R2,p206;R90II,p81+99;M145)
Camille Pissarro, 3IE-1877-169, Verger de Montbuisson à Pontoise. Maybe: CCP440, 1876, The Jardin de Maubuisson, Pontoise, sunshine, 46×55, Barnes (iR10;iR6;R116,CCP440;R90II,p169;R2,p206;M25)
Camille Pissarro, 3IE-1877-170, Vue de Saint-Ouen-l’Aumône. Now: CCP441, 1876, Saint-Ouen-L’Aumône viewed from the Côte des Gratte-Coqs, 58×80, Yale New Haven (iR10;iR66;iR59;R116,CCP441;R90II,p81+99;R2,p206;M33)
Camille Pissarro, 3IE-1877-171, La plaine d’Epluches (Arc-en-ciel). Now: 1877, CCP495, The Rainbow, Pontoise, 53×82, KMM Otterlo (iR2;iR59;R2,p232;R116,CCP495;R90II,p81+99;R2,p206;M72)
Camille Pissarro, 3IE-1877-172, Bord de l’Oise en automne, appartient à M. Ch… Compare: CCP453, Rider on the banks of the Oise, Saint-Ouen-l’Aumône, overcast sky, 54×64, Boijmans Rotterdam (iR10;iR6;R116,CCP453;R2,p206;M70)
Camille Pissarro, 3IE-1877-173, Bord de l’Oise, route d’Auvers. Maybe?: CCP456, 1876, Le quai du Pothuis à Pontoise, 46×55, A2014/05/06 (iR11;R116,CCP456;R2,p206)
Camille Pissarro, 3IE-1877-174, Place de l’Hermitage à Pontoise. Maybe?: CCP436, 1876, A Crossroads at l’Hermitage, Pontoise, 38×46, MuMa Le Havre (HW18;R116,CCP436;R2,p206;M15)
Camille Pissarro: 3IE-1877-175, Grand Poirier, à Montbuisson =!? 1877, CCP492, Pear Trees in bloom, orchard at Pontoise, 61×72, private (iR10;iR94;R116,CCP492;R90II,p81+100) Hoschedé collection =!? sale HD1878/06/05-64, Les Poiriers, 60x72cm.
Camille Pissarro, 3IE-1877-176, Paysage avec ruine (automne). Maybe?: 1874, CCP335, Fog, Pontoise, 46×56, xx (iR94;iR10;R116,CCP335;R2,p206) Hoschedé collection.
Camille Pissarro, 3IE-1877-177, Bord de l’Oise, marine. Maybe?: CCP459, 1876, Tug-boat and berges on the Oise, Pontoise, 38×56, Chapel Hill AAM (iR6;iR10;R116,CCP459;R2,p206)
Camille Pissarro, 3IE-1877-178, Basse-cour, pluie. Maybe: 1877, CCP497, The hens, barnyard at the Red house, Pontoise, 33×41, private (iR10;iR94;R116,CCP497;R2,p206)
Camille Pissarro, 3IE-1877-179, Vue de l’Hermitage. Maybe?: CCP405, 1875, Chemin montant, Rue de la Côte-du-Jalet, Pontoise, 54×65, Brooklyn MA (iR10;M65;R2,p206;R116,CCP405)
Camille Pissarro: 3IE-1877-180, La moisson; appartient à M. C… = CCP465, 1876, Harvest at Montfoucault, 65×93, Orsay (iR10;iR2;iR59;R2,p233;R116,CCP465;R90II,p81+100;R17,p253;M1) Caillebotte bequest.
Camille Pissarro: 3IE-1877-181, Allée sous-bois à Montfoucault; appartient à M. C… =1874, CCP383, Landscape with Rocks, Montfoucault, 66×93, A2000/11/09 (iR2;iR14;R116,CCP383;R90II,p81+100;R2,p206) Caillebotte bequest.
Camille Pissarro, 3IE-1877-182, Un friche à Montfoucault. Maybe: 1874, CCP374, Piette’s Home on Montfoucault, 46×55, private (iR2;R116,CCP374;R2,p206)
Camille Pissarro, 3IE-1877-184, La plaine, à Pontoise. Maybe?: CCP484, 1877, Terre labourée en hiver, avec un homme portant un fagot, 38×46, A2015/02/04 (iR11;R116,CCP484;R2,p206)
Auguste Renoir: 3IE-1877-185, La Balançoire (app. à M. C…) =1876, CR202, The swing, 92×73, Orsay (iR52;R90II,p81+100;R2,p206+234;R108,no202;R8,p320;R32,p37;R30,no242;R31,no39;M1) Caillebotte bequest.
Auguste Renoir: 3IE-1877-186, Bal du moulin de la Galette = 1876, CR209, Bal du Moulin de la Galette, 131×175, Orsay (iR10;iR8;R30,no249;R31,no40;R90II,p81+100;R2,p188;R2,p206+236;R108,no209;M1) =Caillebotte bequest.
Auguste Renoir: 3IE-1877-187, Portrait de madame G.C. (appartient à M. G. Charpentier) = 1876-77ca, 1CR226=1F269, First portrait of Madame Georges Charpentier, 46×38, Orsay (M1;iR6;R30=R193,no269;R190,no265; R90II,p81+100;R2,p206;R108,no226;R231-1) Expo: =EU-1900-C-560, Portrait de Mme C… (à Mme Charpentier).
Auguste Renoir: 3IE-1877-188, Portrait de mademoiselle G. C. (app. à M.G. Charpentier) = 1876, CR178, Georgette Charpentier Seated, 98×73, private (iRx;R90II,p82+101;R2,p206;R108,no178;R30,no257)
Auguste Renoir: 3IE-1877-189, Portrait de madame A. D. (app. à M. A. D.) =1876, CR163, Mme Alphonse Daudet, 47×37, Orsay (R30,p50=no255;R90II,p82+101;R2,p206;R108,no163;M1) =?? 2IE-1876-222, Portrait de Mme D…
Auguste Renoir: 3IE-1877-190, Portrait de M. Sisley =1876, CR117=1F138, Alfred Sisley, 66×55, AI Chicago (iR10;iR74;R90II,p82+101;R2,p206+237;R108,no117;R30=R193,no138;M20)
Auguste Renoir: 3IE-1877-191, portrait de Mademoiselle S. = CR229, 1877, Portrait d’actrice Jeanne Samary,
56×47, Pushkin (iR7;iR2;iR22;iR52;R90II,p82+101;R2,p206;R108,no229;R30,no282;R31,p197;M96)
Auguste Renoir: 3IE-1877-192, Portrait de M. S… =1877ca, CR71, Jacques-Eugène Spuller, 46×39, A2011/06/22 (iR11;iR15;R90II,p82+101;R2,p206;R108,no71;R30,no201)
Auguste Renoir: 3IE-1877-193, Jeune fille =? 1875ca, The Sewer, 65×54, A2010/11/02 (iRx;iR11;R30,no195;R2,p206;R90I,p129)
Auguste Renoir: 3IE-1877-194, femme assise =?? 1876ca, CR190, Mme Henriëtte Henriot in white, 66×50, NGA Washington (iRx;R30,no216;R2,p206;R108,no190;R15,no419;M21)
Auguste Renoir: 3IE-1877-195, La Seine à Champrosay =1876, The Banks of the Seine at Champrosay, 55×66, Orsay (iR6;R30,no256;R90II,p82+101;R2,p106+238;R31,p207;M1). Caillebotte bequest.
Auguste Renoir: 3IE-1877-196, La place Saint-George =? 1875ca, Place de la Trinite, Paris, 50×61, private (iRx;R30,no196;R2,p206;R90I,p180;R88I,p93) =? Rejected Caillebotte bequest, La Place Saint-Georges.
Auguste Renoir: 3IE-1877-197, Coucher de soleil =? 18xx, view of Montmartre, xx, xx (iR10;iR64;iR2;R2,p206;R90I,p180;R88I,p93) =? Rejected bequest of Caillebotte, Vue de Montmartre.
Auguste Renoir: 3IE-1877-198, Jardin. Uncertain option 3: 1876, The conversation (Spring), 61×50, Axx (iR10;iR6;iR13;R30,no239;R2,p206) Location: Rue Cortot
Auguste Renoir: 3IE-1877-199, Jardin. Uncertain option 1: 1875, Woman with a Parasol in a Garden, 54×65, MNTB Madrid (iR2;M100;R30,no199;R2,p206)
Auguste Renoir: 3IE-1877-200, Tête de jeune fille. Uncertain option 3: 1876, Nini Lopez, 26×22, A2002/06/25 (iRx;iR11;R30,no260;R2,p206)
Auguste Renoir: 3IE-1877-201, Bouquet de fleurs de champs. Uncertain option 3: 1876ca, Bouquet in front of a Mirror, 93×72, private (iRx;R30,no267;R2,p206)
Auguste Renoir: 3IE-1877-202, Deux têtes =? 1876ca, Young Man and Young Woman, 31×45, Orangerie (iRx;R30,no241;R2,p206;R90I,p176+180;M3)
Auguste Renoir: 3IE-1877-203, deux têtes. Compare: 1877ca, Two young maiden heads, 47×54, Marlborough London (R30,p103=no272;R2,p206;R90I,p176+180)
Auguste Renoir: 3IE-1877-204, Dahlias. Compare 3: 18xx, Dahlias, xx, xx (iR10;iR114;R2,p206;R90I,p180)
Auguste Renoir: 3IE-1877-205, Portrait d’enfant. Uncertain option 1: 1876ca, Child with an apple (Mlle de La Pommeray), 40×32, A2015/05/06 (iRx;iR11;R30,no227;R2,p206)
Henri Rouart, 1875-77ca, Sbr, Les bords de la Sédelle (moulin et ruines du château), 48×60, private (iR10;R92,no34). Maybe: 3IE-1877-206, Bords de la Sédelle.
Henri Rouart: 1878-1880ca, Portrait of Hélène, daughter of the artist (1863-1929; probably at the Rue de Lisbonne), 46×38, private (iR132;aR21;aR20;iR24;R92,no8;R90I,p130;R2,p206) =?? 3IE-1877-208, Portrait. =? DR-1951-19, Hélène Rouart, lisant.
Henri Rouart: 3IE-1877-209, Vallée de Cauterets. Compare:
Henri Rouart: 1868-96 (1880), Sbr, Le pont de Melun, 47×58, private (iR6;iR10;iR166;iR8;R2,p206;R92,no10) =?? 3IE-1877-210, Quai des Fourneaux, à Melun. =Expo 2016 Pont Aven Museum
Henri Rouart: 3IE-1877-210+hc, La ferme. Compare:
Alfred Sisley: 3IE-1877-211, Le Chalet, Gelée blanche, appartient à M. H… =1876, SDbr, CR208=CCPP221, View of Marly-le-Roi from House at Coeur-Volant, 65×92, Metropolitan (iR2;iR59;R3,p158;R38;R90II,p83+290;R129,no208;R396,no221;M23) Provenance: =!? Hoschedé; sale: HD1878/06/05-88, Châlet dans un parc, 65x92cm; Hasseltine; 1892/03/14 Durand-Ruel NY; 1892/04/08 Palmer; 1894/11/24 Durand-Ruel NY till 1928/11/24. Expos: Saint Louis-1895-501; New York DR1899-24 +DR1912-6 +DR1914-9; +DR1917-22; +DR1921-13.
Alfred Sisley: 1875, SDbl, CCPP195, The Duck Pond, 46×55, A2013/11/06 (iR2;iR11;R90II,p290;R90I,p159/160;R396,no195) Compare: 3IE-1877-212, Le Parc, appartient à M. H… Provenance: Zieseniss.
Alfred Sisley: 1876ca, Sbl, CR220=CCPP219, A road at Louveciennes, 49×65, A2004/02/03 (iR112;iR15;iR2;R129,no220;R396,no219) Provenance: baron Blanquet de Fulde; sale HD1900/03/12-57. Compare: 3IE-1877-213, Route, le soir, appartient à M. H…
Alfred Sisley: 3IE-1877-214, Scieurs de long; Appartient à M. de Bellio =1876, SDbr, CR230=CCPP227, Pit (Wood) sawyers, 50×66, MPP Paris (iR10;iR6;iR2;R2,p239;R90II,p83+102;R129,no230;R396,no227;M4) Provenance: Dr Georges de Bellio.
Alfred Sisley: 1876, SDbr, CR199=CCPP242, Route de Marly, Port-Marly (Place du Marché), 50×65, Kh Mannheim
(iR2;iR3+info;R3,p159;R129,no199;R396,no242;M51) Provenance: 1894 Durand-Ruel; Depeaux; sale GP1906/05/31-68; Durand-Ruel. Expos: compare: 3IE-1877-215, rue de village, appartient à M. de Bellio; =DR1910-68.
Alfred Sisley: 1876ca, Sbl, CR218=CCPP248, Hill Path (Chemin montant), 38×55, MBA Lyon (iR2;iR10;iR8;R8,p68;R129,no218;R396,no248;R90I,p134;M217) Compare: 3IE-1877-216, Les Gressets, village aux environs de Paris, appartient à M. de Bellio. Provenance: Jules Strauss; sale HD1902/05/03-58.
Alfred Sisley: 1875, SDbl, CR164=CCPP174, The Terrace at Saint-Germain-en-Laye, Spring, 74×99, WAM Baltimore (iR3;iR8;iR2;R129,no164;R396,no174;R166,p52,note46;M48) Compare: 3IE-1877-217, La Seine au Pecq. Provenance: 1880 Durand-Ruel; Faure; Guasco; sale GP1900/06/11-67; Durand-Ruel. Expo: =? DR1883-solo, loan Faure.
Alfred Sisley: 3IE-1877-218, Champs de foin; appartient à M. Charpentier. Compare two views of fields: CCPP239 +CCPP216.
Alfred Sisley: 3IE-1877-219, La machine de Marly, appartient à M. Duret = 1876ca, Sbl, CR215=CCPP214, Le barrage et la Machine de Marly, Bougival, 38×61, private (iR10;R90,p84+102;R166,p122;R129,no215;R396,no214). Provenance: Duret; sale GP1894/03/19-39 -> Durand-Ruel; 1894/03/20 Depeaux.
Alfred Sisley: 3IE-1877-220, Le pont d’Argenteuil en 1872, appartient à M. Manet = 1872, SDbr, CR30=CCPP28, The bridge at Argenteuil, 39×61, Memphis BMA (iR6;iR11;iR59;iR2;R2,p240;R166,104;R129,no30;R396,no28;M167). Provenance: 1877 Manet; 1883 Durand-Ruel.
Alfred Sisley: 3IE-1877-221, Bords de la Seine, coup de vent; appartient à M. Ch… Compare: CCPP267 +CCPP269.
Alfred Sisley: 1875, SDbr, CR169=CCPP176, The watering place at Marly-le-Roy, 40×56 AI Chicago (iR10;M20;iR2;R17,p100;R166,p172;R129,no169;R396,no176;R2,p206) Expo: =?? 3IE-1877-222, L’Abreuvoir, à Marly. Provenance: Louis Flornoy; sale HD1905/04/10-40.
Alfred Sisley: 1876, SDbr, CR202=CCPP246, Inn along a main street (Marly), 50×65, private (iR2;R2,p207;R129,no202;R396,no246) Expo: =?? 3IE-1877-223, L’Auberge du Lion-d’Or; =GP1897-102. Provenance: Hazard; sale GP1919/12/01-210.
Alfred Sisley: 3IE-1877-224, Village de Marly (Effet de neige). Two uncertain options: CCPP260 +CCPP205.
Alfred Sisley: 1876, SDbl, CR217=CCPP241, The Laundry, 38×55, Worcester AM (iR2;R90II,p84;R2,p207;R129,no217;R396,no241;M221) Provenance: Picq-Véron; 1892/06/25 Durand-Ruel. Expos: =?? 3IE-1877-225, Le Lavoir, à Marly; =GP1897-94; =DR1899-132.
Alfred Sisley: 1876, SDbr, CR214=CCPP223, View on Saint-Germain-en-Laye from the Marly hill, Springtime, 38×56, Km Saint-Gall (iR2;R166,p156;R129,no214;R396,no223) Provenance: 1877 Durand-Ruel; Paul Aubry; sale GP1897/05/10-33). Expos: =?? 3IE-1877-226, Terrasse à Marly.
Alfred Sisley: 3IE-1877-227, Inondations. Two uncertain options: CCPP234 +CCPP233.
Alfred Sisley: 3IE-1877-227+hc1, Inondations. Two (very) uncertain options: CCPP231 +CCPP229.
Charles Tillot, 18??, Bouquet de fleurs, 45×36, A2010/12/22 (iR10;iR89;iR18;R2,p207) =?? 3IE-1877-239, Fleurs
Clarification: On this page you find 215 suggestions for the about 249 art-works that were exhibited at the 3rd ‘impressionist’ exposition in 1877. Catalogue no.42 of Degas probably wasn’t exhibited. Maybe nos.51+54 of Degas weren’t exhibited either, but this is more doubtfull, so I will render them and count them as being exhibited. Probably nos.116+118 of Monet (two interiors of the Gare Saint-Lazare) weren’t exhibited and instead 2 exteriors of the Gare Saint-Lazare were exhibited outside the catalogue (=hc).
Note: the given suggestions vary from certain (=!), to almost certain (=?!), to uncertain (=?), to very uncertain (=??), to most uncertain (=???), to compare (=compare:).
Sometimes (34x) I have no suggestion at all, namely nos.34 +35 +36 (of Cordey); no.74+75 (of Jacques François); nos. 76 +77 +78 +79 (of Franc Lamy), no.86+89 (Maureau), no.124 (Morisot), nos. 134 +135 +139 +142 +146 +147 +150 +151 +159 (Piette), nos. 228 +229 +230 +231 +232 +233 +234 +235 +236 +237 +238 +240 +241 (Tillot).
Helas, of several options I could only find a picture in black and white, namely no.10+14 of Cals, no.67+72 of Guillaumin; nos. 81 +82 +85 (Levert), no.92+103 of Monet; no.126+127 of Morisot; nos 140 +155 +160 of Piette; no.175+176 of Pissarro; no.203 of Renoir.
Sometimes I render a compilation of two pictures: no.218 +221 +224 +227 +227+hc1 (Sisley). The pictures I give to compare that are very weak are nos. 81 +82 +83 +84 +85 (Levert); 130 +131 + hc of Morisot; no. 209 +210+hc of Rouart.
See the accounts of the partakers. See link for an explanation of the subscriptions.
