Meta-Impressionism: Art-collectors

Count Armand Doria

(1824-96)

supporter the ‘impressionists’

Adolphe-Félix Cals: 1858, Portrait presume de Armand Doria, 41x33, xx (iR12;iR10) — Adolphe-Félix Cals: 1858, Portrait presume de Armand Doria, 41×33, xx (iR12;iR10)

Adolphe-Félix Cals, S1865-2346, Portrait de Mme la comtesse D..., dessin. Maybe: 1859, Portrait of Countess Doria, dr, 39x28, A2013/12/29 (iR17;iR1) — Adolphe-Félix Cals, S1865-2346, Portrait de Mme la comtesse D…, dessin. Maybe: 1859, Portrait of Countess Doria, dr, 39×28, A2013/12/29 (iR17;iR1)

Introduction:
Count Armand Doria was an art-collector who supported several ‘impressionists’ like Colin, Cals (since 1859), Lépine, Vignon and also Corot and Manet. Count Doria lived in Orrouy, about 73km north of Paris in the Oise region. He owned an estate the château d’Orrouy. He had been mayor from 1864-96. Here and at his appartement in Paris he received many artists. He collected around 7.000 art-works. Several were auctioned in 1899. In the auction catalogue Arsène Alexandre wrote a biography (R455-1, p5-40). Roger-Milès commented his collection (R455-1,p41-72).
Count Doria was not among the lenders of the 8 ‘impressionist’ expositions (R90II,p288).
On this page you will find x pictures from the Armand Doria collection.

Count Doria and his family:
Armand François Paul Desfriches Doria was born in 1824/04/14* in Paris. His family came from Genoa (Italy). 1851/06/30 he married with Marie-Berthe de Villiers-de la Noue (1829-55). They had a son and a daughter. In 1859 Cals depicted Armand Doria with his two children (R521,no13). The daughter (Marie-)Luce Desfriches Doria (1852ca-1872?), died at the age of twenty (R521,no13). The son Paul Prudent “François” Desfriches Doria (1853-1935), married 1878/07/17 Madeleine d’Assas; they had 4 children: Henri (1879-1918), Berthe (or Ernestine; 1881-1970), Luce** (1885-1969+) and Arnaud (1890-1977) (iR79).
Luce** married 1907/04/10 with Alexandre Marie-Pierre Davène de Roberval (1880-1945); they had 3 children, namely Marice (1910-96) and Edith (1924-2011) (iR79;R521,p15).
Count Armand Doria was first a ‘vicomte’ (viscount) (S1865-353/4) and became ‘comte’ probably after the death of his father (1866/11/24; iR79).
He was related with Mme Charpentier, but not on speaking terms (R1,p382).
He was decribed by Degas as having ’the features and manner of Tintoretto’ (R31,p21).
Doria read many books of religious writers (iR4).
Armand Doria died 1896/05/07*** in Orrouy (iR79).
Note*: an engraving indicates (wrongly) that he died at the age of 73.
Note**: the same name as the daughter of Armand: (Marie-)Luce. It is unclear when she died. Anyway as ‘Mme Davène de Roberval’ she rented many art-works of Cals to the 1969 exposition as did her brother Arnaud (R521).
Note***: some geneanet pages mention he died the 8th (iR79), but maybe this is the date of the death certificate.
Note: Joconde somewhere noted that a decended of Armand Doria married with Isabelle, who was a niece of Zacharie Astruc (iR23).

Paul Cézanne: 1IE-1874-42, La maison du Pendu, à Auvers-sur-Oise =1872-73, V133=FWN81, Sbl, Auvers-sur-Oise, house of the hanged man, 55x66, Orsay (iR2;iR59;iR194,no81;R189,no133;R90II,p21;R87,p235;R2,p120;R410,no170;R48,no136;R1,p334;R163,p46;R231-5;M1) Provenance: 1874 Count Doria (for 300fr); Chocquet. Expo: =EU-1889-C-124, La maison du pendu (à M. Choquet); =7XX-1890-2, Chaumière à Auvers-sur-Oise (lent by Chocquet). — Paul Cézanne: 1IE-1874-42, La maison du Pendu, à Auvers-sur-Oise =1872-73, V133=FWN81, Sbl, Auvers-sur-Oise, house of the hanged man, 55×66, Orsay (iR2;iR59;iR194,no81;R189,no133;R90II,p21;R87,p235;R2,p120;R410,no170;R48,no136;R1,p334;R163,p46;R231-5;M1) Provenance: 1874 Count Doria (for 300fr); Chocquet. Expo: =EU-1889-C-124, La maison du pendu (à M. Choquet); =7XX-1890-2, Chaumière à Auvers-sur-Oise (lent by Chocquet).

Mayor in Orrouy:
Count Doria lived in Orrouy, about 73km north of Paris in the Oise department (iR9). He had been mayor from 1864-96. He owned an estate the château d’Orrouy (iR9; iR4; iR6). This belonged to his wife’s family.
Count Doria also owned an appartement in Paris at the Rue de Tivoli, where he also received many artists (iR4).

Count Doria, an art-collector:
Count Armand Doria bought art-works from the major and minor art-dealers like Père Martin and Durand-Ruel. He attended several auction sales and bought works from namely the Barbizon school and the ‘impressionists’. In total he collected about 7.000 art-works. This included many works of Corot, Cals (since 1859), Colin, Lépine, Vignon.
After the 1st ‘impressionist’ exposition in 1874 Count Doria bought La maison du Pendu of Cézanne for 200fr* (R87,p224).
After the 2nd exposition in 1876 he bought 3 paintings of Renoir. Denvir calls him a regular supportor of Renoir (R8,p217).
Count Doria was not among the lenders of the 8 ‘impressionist’ expositions (R90II,p288). Still in 1879, in a letter to Cals, he commented the partakers of the 4th exposition (iR4).
Note*: others mention this was for 300fr.

Cals and Count Doria:
Adolphe-Félix Cals often stayed with Comte Armand Doria in Orrouy (iR9) and often painted in these surroundings.
When Cals stayed at the Château d’Orrouy he occupied two rooms (R521,no15).
Of the 83 art-works (57 paintings +26 drawings) exhibited at the Hazlitt gallery in London in 1969, 78 were lents of Arnaud Doria and his sister Mme de Roberval, grandson and granddaughter (R521*). Of the 62 art-works in the 1975 catalogue 29 were from the Doria collection (R520). Of the drawings exhibited in 2002 many were given to Comte Armand Doria, namely no.6-102, made probably between 1837-44.
Some later drawings (1855-78ca) were made in Orrouy or it’s surroundings (nos.117 +119-133 +136 +137). (R522)
See also overview of pictures and overview of titles.
Note*: Some of these works didn’t come from the Armand Doria collection, but were later bought by his son François.

Colin and Count Doria:
Gustave-Henri Colin often visited his patron Count Armand Doria at the Château d’Orrouy in Picardy (iR35;iR3). Count Doria called him one of the founders of the modern plein-air school and that he connected the school of 1830 and the Impressionists (R9;R88). Count Doria also was a tireless supporter of Colin (R87;R88;aR17). In 1999 there was an auction of his collection of Colin and Cals, see below at further reading (iR24).

Lépine and Count Doria:
Count Armand Doria, became the main patron of Stanislas Lépine (aR2;aR1;iR69;R87;iR4;aR4,p17), collected his works (R9;R232;R154) and invited Lépine at his castle ‘Orrouy’ in the Oise (aR4,p17;R75;R152;iR69;R16;iR4). Maybe this was only on sundays, because Lépine didn’t made pictures in these surroundings (aR4,p17).

Vignon and Count Doria:
Victor Vignon was active in Orrouy in 1884 and maybe a bit later. He had connections with Count Armand Doria and in 1888 dedicated a work to him (R272,p7). It is uncertain if Vignon did stay at Count Doria, who collected works of Vignon (R99I,p203).
There is an église Saint-Remy in Orrouy, which Vignon depicted in 1884 and which was later in the Hazard collection.
At the 8th ‘impressionist’ exposition Vignon showed: 8IE-1886-228, Un chemin vert, à Orrouy.
Works of Vignon were auctioned at the Doria sale: 1899/05/04+05 at the sale of the collection of M. le Comte Armand Doria at Georges Petit there were 22 works by Vignon offered. They were sold for an average of 458fr; this is more than 10x less than the works of Monet, Renoir and Sisley (aR14=iR40;R232;R154; note: Schurr & Cabanne (wrongly) mention there were 25 works of Vignon; R9).
GP1919/12/01-231, 1884, L’église d’Orrouy, 32×46, SD- (Former Hazard collection) (aR18=iR19;R232;R272,p30)

Edgar Degas: 4IE-1879-72, Danseuse posant chez un photographe =? 1877-78ca, CR447, Dancer Posing for a Photographer (Dancer in Front of the Window), 65x50, Pushkin (iR53;iR2;R90II,p111+130;R2,p268;R26,no505;R114,no447;M96) Expos: London-1875-72; Brussels-1902-68. Provenance; Armand Doria; GP1899/05/04-137 (22.000fr) -> Durand-Ruel. — Edgar Degas: 4IE-1879-72, Danseuse posant chez un photographe =!? 1877-78ca, CR447, Dancer Posing for a Photographer (Dancer in Front of the Window), 65×50, Pushkin (iR53;iR2;R90II,p111+130;R2,p268;R26,no505;R114,no447;M96) Expos: London-1875-72; Brussels-1902-68. Provenance; Armand Doria; GP1899/05/04-137 (22.000fr) -> Durand-Ruel.

Auguste Renoir: 1876-77ca, 1CR227=1F305, Young Woman Seated, 66x56, Birmingham BIFA (iR10;iR48;R31,no43;R30=R193,no305;R190,no301;R231-1;M189) Provenance: Doria; sale GP1899/05/04-202, La Pensée; Jules Strauss; sale HD1902/05/03-49. Expos: EU-1900-C-557, Portrait (à M. Strauss); Berlin-S-1901-205; London-GH-1914-62. — Auguste Renoir: 1876-77ca, 1CR227=1F305, Young Woman Seated, 66×56, Birmingham BIFA (iR10;iR48;R31,no43;R30=R193,no305;R190,no301;R231-1;M189) Provenance: Doria; sale GP1899/05/04-202, La Pensée; Jules Strauss; sale HD1902/05/03-49. Expos: EU-1900-C-557, Portrait (à M. Strauss); Berlin-S-1901-205; London-GH-1914-62.

1899, posthumous auction sale:
1899/05/04 +05 there was a posthumous auction sale of 685 works of Count Armand Doria at the Georges Petit gallery. This included a large number of paintings by Cals (iR65). It amouned the sum of 1.129.019 francs. The catalogue contained: paintings (1-251); watercolours (252-304); pastels (305-309); drawings (310-556); a collection of gravures (557-664; no titles); bronze by Barye (665-684; no titles); a ’tableau non catalogué (685).
It contained many paintings Corot (69x), Cals (32x), Vignon (22x), Lépine (19x), Guillaumin (10x), Renoir (10x) and Jongkind (10x). It also contained works of Boudin (2x), Cézanne (1x), Colin (6x), Degas (1x), Monet (1x), Morisot (2x), Pissarro (4x), Sisley (4x) and also of Barye (2x), Daumier (8x), Delacroix (4x), Manet (3x), JF Millet (1x), Rousseau (9x).
The highest amounts were paint for works of Renoir (22.100fr) and Degas (22.000fr).

1899/05/0809 a second auction was held, selling watercolours, pastels, drawings, engravings and sculptures from the Armand Doria collection (aR2=R455-2). This included 53 watercolours (no.252-304), including 27 of Jongkind; 5 pastels (no.305-309); 247 drawings* (no.310-556), including 47 of J.F. Millet, 37 of Rousseau, 31 of Daumier, 26 of Corot, 25 of Delacroix, >21 of Antoine-Louis Barye, 16 of Jongkind, >12 of Cals; 108 engravings, including 16 of J.F. Millet, 15 of Desboutin, 10 of Corot, 5 of Legros and 1 of Bracquemond; 18 bronze sculptures of Antoine-Louis Barye.
Note: this second catalogue renders introductions on Daumier, Delacroix, J.F. Millet, Rousseau, (drawings), Desboutins (engravings),
Note*: This maybe included a drawing of Manet (R494,no166), but this was not in the catalogue.
Sources: aR1;aR2;aR3(=R455);iR40;iR242;iR65;R22I,p331.

Corot (1796-1875): 1835, SDbl, R357, Landscape near Riva on Lake Garda, 99x142, NP Munich (iR6;R455-1;M53) Provenance: Armand Doria; HD1899/05/04-59, Lac en Italie, 97x140 (34.500fr) — Corot (1796-1875): 1835, SDbl, R357, Landscape near Riva on Lake Garda, 99×142, NP Munich (iR6;R455-1;M53) Provenance: Armand Doria; HD1899/05/04-59, Lac en Italie, 97×140 (34.500fr)

Corot (1796-1875) (copy after: on board, 1870ca, A2013/02/31): R54, 1826-28ca, S-, Le Colisée à Rome, vu des jardins Farnese, 38x48 (iR15;iR6;R119,no54;R455-1;R231-5) Provenance: Latouche; Diot; Armand Doria; GP18990504-63, 35x52cm (10.100fr). Expo: EU-1889-C-188 (app. à M. le comte Doria) — Corot (1796-1875) (copy after: on board, 1870ca, A2013/02/31): R54, 1826-28ca, S-, Le Colisée à Rome, vu des jardins Farnese, 38×48 (iR15;iR6;R119,no54;R455-1;R231-5) Provenance: Latouche; Diot; Armand Doria; GP18990504-63, 35x52cm (10.100fr). Expo: EU-1889-C-188 (app. à M. le comte Doria)

Corot (1796-1875): 1834, R308, Ville et lac de Côme, 30x42, private (iR6;R119,no308;R455-1;R231-5) Provenance: HD1875/05/26-83; Brame; Paton; sale 1883/04-39 (1.850fr) -> Armand Doria; GP1899/05/04-58 (6.300fr). Expo: EU-1889-C-171 (app. à M. le comte Doria) — Corot (1796-1875): 1834, R308, Ville et lac de Côme, 30×42, private (iR6;R119,no308;R455-1;R231-5) Provenance: HD1875/05/26-83; Brame; Paton; sale 1883/04-39 (1.850fr) -> Armand Doria; GP1899/05/04-58 (6.300fr). Expo: EU-1889-C-171 (app. à M. le comte Doria)

Honoré Daumier (1808-79): 1863-65, Sbr, The Third-Class Carriage, 65x90, NGC Ottawa (M113;iR6;iR10;R455-1) Provenance: Armand Doria; HD1899/05/04-127, Le wagon de 3me classe, 67x92 (46.500fr) — Honoré Daumier (1808-79): 1863-65, Sbr, The Third-Class Carriage, 65×90, NGC Ottawa (M113;iR6;iR10;R455-1) Provenance: Armand Doria; HD1899/05/04-127, Le wagon de 3me classe, 67×92 (46.500fr)

Johan Barthold Jongkind (1819-91): 1867, SDbr, Canal in Holland in the Moonlight, 34x46, private (iR2;R455-1) Provenance: Armand Doria; HD1899/05/04-161, Canal en Hollande au clair de lune, 33x46 (7.650fr) — Johan Barthold Jongkind (1819-91): 1867, SDbr, Canal in Holland in the Moonlight, 34×46, private (iR2;R455-1) Provenance: Armand Doria; HD1899/05/04-161, Canal en Hollande au clair de lune, 33×46 (7.650fr)

Johan Barthold Jongkind (1819-91): 1856, SDbr, Vue d'Overschie, xx, MCh Douai (iR6;iR94;R455-1;M176) Provenance: Armand Doria; HD1899/05/04-164, Église au Cadran, 41x55cm (11.000fr) — Johan Barthold Jongkind (1819-91): 1856, SDbr, Vue d’Overschie, xx, MCh Douai (iR6;iR94;R455-1;M176) Provenance: Armand Doria; HD1899/05/04-164, Église au Cadran, 41x55cm (11.000fr)

Adolphe-Félix Cals: 1877, Mère et ses enfants au Saint-Siméon (the loving mother), 131x161, A2005/02/15 (iR13;iR17;R2,p161;R90II,p34) Compare: 2IE-1876-29, Femme allaitant son enfant. — Adolphe-Félix Cals: 1877, Mère et ses enfants au Saint-Siméon (the loving mother), 131×161, A2005/02/15 (iR13;iR17;R2,p161;R90II,p34) Compare: 2IE-1876-29, Femme allaitant son enfant. Compare drawing, L’heureuse mère, 1878, SDbl, 25×30 =GP1899/05/08-335 (Doria 2nd sale)

Adolphe-Félix Cals: Mère et ses enfants, au Saint-Siméon, dr (R152,p178+216+chXXVII) =!? GP1899/05/08-335 (Doria 2nd sale; 440fr): 1878, SDbl, L'heureuse mère, dr, 25x30; =? 4IE-1879-43, La mère et les enfants (dessin); appartient à Mme H… — Adolphe-Félix Cals: Mère et ses enfants, au Saint-Siméon, dr (R152,p178+216+chXXVII) =!? GP1899/05/08-335 (Doria 2nd sale; 440fr): 1878, SDbl, L’heureuse mère, dr, 25×30; =? 4IE-1879-43, La mère et les enfants (dessin); appartient à Mme H…

Adolphe-Félix Cals: 1876, A sunday in Saint-Siméon (La Cueillete des pommes), 60x120, A1998 (iR6;iR13;iR14;iR35;R2,p161;R90II,p34+48;R152=aR2,p136+210;R455). Provenance: Armand Doria; GP1899/05/04-14, Cueillette des pommes, 58x118 (4.200fr). Expos: =?? 2IE-1876-30, A la ferme de Saint-Siméon; Compare: 4IE-1879-42, Le dimanche à Saint-Siméon, Honfleur, dessin. — 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;R455). Provenance: Armand Doria; GP1899/05/04-14, Cueillette des pommes, 58×118 (4.200fr). Expos: =?? 2IE-1876-30, A la ferme de Saint-Siméon; Compare: 4IE-1879-42, Le dimanche à Saint-Siméon, Honfleur, dessin.

Adolphe-Félix Cals: 1876, Un dimanche, au Saint-Siméon (La cueillette des pommes), engraving after painting, 58x118cm (R152,p136+210) Provenance: Doria sale. Compare: 4IE-1879-42, Le dimanche à Saint-Siméon, Honfleur, dessin.

Adolphe-Félix Cals: 2IE-1876-35, Le repas frugal (dessin) =!? 1875, SDbl, Repas frugal à Saint-Siméon (Meager meal at Saint-Siméon), dr, 20x24, A2012/12/16 (iR13;R2,p161) Provenance?: sale 1876/01/26; 2nd Armand Doria sale GP1899/05/08-338 (1.000fr); Hazard (R152,p216;R455-2) — Adolphe-Félix Cals: 2IE-1876-35, Le repas frugal (dessin) =!? 1875, SDbl, Repas frugal à Saint-Siméon (Meager meal at Saint-Siméon), dr, 20×24, A2012/12/16 (iR13;R2,p161) Provenance?: sale 1876/01/26; 2nd Armand Doria sale GP1899/05/08-338 (1.000fr); Hazard (R152,p216;R455-2)

Adolphe-Félix Cals, 6IE-1881-hc1, unknown title. Very uncertain: 1874, Le repos du paysan, Honfleur, 27x34, Axx (iR10;R2,p356;R90I,p354). Doria collection. — Adolphe-Félix Cals, 6IE-1881-hc1, unknown title. Very uncertain: 1874, Le repos du paysan, Honfleur, 27×34, Axx (iR10;R2,p356;R90I,p354). Doria collection.

Adolphe-Félix Cals: 1872, Intérieur de cour à Honfleur, 55x65, xx (R90II,p48+34;R2,p161;R455) Provenance: Armand Doria; GP1899/05/04-10, Intérieur de Cour, à Honfleur, 55x65 (2.600fr). Expos: =?? 2IE-1876-31, Cour à Honfleur; compare: 3IE-1877-7. — Adolphe-Félix Cals: 1872, Intérieur de cour à Honfleur, 55×65, xx (R90II,p48+34;R2,p161;R455) Provenance: Armand Doria; GP1899/05/04-10, Intérieur de Cour, à Honfleur, 55×65 (2.600fr). Expos: =?? 2IE-1876-31, Cour à Honfleur; compare: 3IE-1877-7.

Adolphe-Félix Cals: 1861, SDtr, La Veillée (the wake), 40x33, A2000/06/21 (iR2;iR13;iR10;iR1;R231-5;R455) Compare: Provenance: Armand Doria; GP1899/05/04-11, La Veillée, 54x53 (13.600fr). Expos: =S1865-363, La Veillée (Appartient à M. le vicomte Doria); =EU-1889-C-116, La Veillée (app. à M. le comte Doria; S.1844) — Adolphe-Félix Cals: 1861, SDtr, La Veillée (the wake), 40×33, A2000/06/21 (iR2;iR13;iR10;iR1;R231-5;R455) Compare: Provenance: Armand Doria; GP1899/05/04-11, La Veillée, 54×53 (13.600fr). Expos: =S1865-363, La Veillée (Appartient à M. le vicomte Doria); =EU-1889-C-116, La Veillée (app. à M. le comte Doria; S.1844)

Adolphe-Félix Cals: 1856, SDtr, Le goûter, engraving after painting, 35x27cm, unknown location (R152,p45+203;iR1) Expo: =? S1859-476, Le goûter. Provenance: Armand Doria; (1900) Comte François Doria (R152,p203).

Adolphe-Félix Cals: 1865ca, Les deux sœurs, 65x54, unknown location (R152,p96+205;iR1) =S1865-354, Les deux sœurs (Appartient à M. le vicomte Doria) — Adolphe-Félix Cals: 1865ca, Les deux sœurs, 65×54, unknown location (R152,p96+205;iR1) =S1865-354, Les deux sœurs (Appartient à M. le vicomte Doria)

Adolphe-Félix Cals: 1868ca, Grand Mère et petit fils, etch after painting, 156x121cm, unknown location (R152,p111+206;iR1;R231-1) =S1868-406, Grand’mère et petit-fils; =!? EU-1900-C-77, Grand'mère et petite-fille (appartient à M. le comte Doria). Provenance: Armand Doria; (1900) Comte François Doria (R152,p206). — Adolphe-Félix Cals: 1868ca, Grand Mère et petit fils, etch after painting, 156x121cm, unknown location (R152,p111+206;iR1;R231-1) =S1868-406, Grand’mère et petit-fils; =!? EU-1900-C-77, Grand’mère et petite-fille (appartient à M. le comte Doria). Provenance: Armand Doria; (1900) Comte François Doria (R152,p206).

Adolphe-Félix Cals, 18xx, Portrait de son père assoupi, dr, 14x12, Axx (iR10) Doria collection. — Adolphe-Félix Cals, 18xx, Portrait de son père assoupi, dr, 14×12, Axx (iR10) Doria collection.

Adolphe-Félix Cals: 18xx, Saint-François d'Assise, 185x140, A2010/12/19 (iR13;iR1;R152,p202) Expo: =? S1847-264, Saint François-d'Assise. Provenance: Armand Doria; Comte François Doria (1900). — Adolphe-Félix Cals: 18xx, Saint-François d’Assise, 185×140, A2010/12/19 (iR13;iR1;R152,p202) Expo: =? S1847-264, Saint François-d’Assise. Provenance: Armand Doria; Comte François Doria (1900).

Adolphe-Félix Cals: 1880, SDtr, L'heureuse mère (The happy mother), dr, 30x25, A1999/10/27 (iR13;R2,p267;R455-2) Compare: 4IE-1879-43, La mère et les enfants (dessin). Provenance: Armand Doria; GP1899/05/08-332. — Adolphe-Félix Cals: 1880, SDtr, L’heureuse mère (The happy mother), dr, 30×25, A1999/10/27 (iR13;R2,p267;R455-2) Compare: 4IE-1879-43, La mère et les enfants (dessin). Provenance: Armand Doria; GP1899/05/08-332.

Adolphe-Félix Cals: 4IE-1879-45, La mère Doudoux, dessin =1878, SDbr, La Mère Boudoux à sa fenêtre, dr, 21x18, xx (R90II,p126+108;R2,p267;R194,no62;R455-2) Compare: 3IE-1877-13, La mère Doudoux. Provenance: Armand Doria; GP1899/05/08-333, Vieille femme. — Adolphe-Félix Cals: 4IE-1879-45, La mère Doudoux, dessin =1878, SDbr, La Mère Boudoux à sa fenêtre, dr, 21×18, xx (R90II,p126+108;R2,p267;R194,no62;R455-2) Compare: 3IE-1877-13, La mère Doudoux. Provenance: Armand Doria; GP1899/05/08-333, Vieille femme.

Adolphe-Félix Cals, 1IE-1874-38, Vieux pêcheur; appartient à M.R… Compare: Cals, 1872, Le vieux pêcheur (study), 40x33, xx (iR10;R2,p120;R90II,p6+21) — Adolphe-Félix Cals, 1IE-1874-38, Vieux pêcheur; appartient à M.R… Compare: Cals, 1872, Le vieux pêcheur (study), 40×33, xx (iR10;R2,p120;R90II,p6+21)

Adolphe-Félix Cals: 1878, Honfleur au crépuscule, la mer à travers les arbres à la ferme Saint-Siméon (Paysan sous les arbres à Honfleur), 68x60, A2013/04/07 (iR13;iR10). Provenance: Doria collection. Expo: =?? 4IE-1879-33, Soleil couchant. — Adolphe-Félix Cals: 1878, Honfleur au crépuscule, la mer à travers les arbres à la ferme Saint-Siméon (Paysan sous les arbres à Honfleur), 68×60, A2013/04/07 (iR13;iR10). Provenance: Doria collection. Expo: =?? 4IE-1879-33, Soleil couchant.

Works of Cals in the Doria collection:
The following works of Adolphe-Félix Cals were once in the Armand Doria collection:

S1865-353, La veillée (Appartient à M. le vicomte Doria)
S1865-354, Les deux sœurs (Appartient à M. le vicomte Doria)
EU-1900-C-77, Grand’mère et petite-fille (appartient à M. le comte Doria)
S1865-353, La veillée (Appartient à M. le vicomte Doria)
EU-1889-C-116, La Veillée (app. à M. le comte Doria; S.1844)
=?? 1861 (1868), La Veillée (the wake), 40×33, A2000/06/21 (iR2;iR13)
GP1899/05/04-9, L’Anxiété, 91×75 (14.900fr) (aR3)
GP1899/05/04-10, Intérieur de Cour, à Honfleur, 55×65 (2.600fr) (aR3)
GP1899/05/04-11, La Veillée, 54×53 (13.600fr) (aR3)
GP1899/05/04-12, Ferme normande, 40×64 (1.550fr) (aR3)
GP1899/05/04-13, La mère Barberye (1869), 32×24 (4.800fr) (aR3)
GP1899/05/04-14, Cueillette des pommes, 58×118 (4.200fr) (aR3)
GP1899/05/04-15, A la fenêtre, 37×28 (5.200fr) (aR3)
GP1899/05/04-16, Le père Louvel, 39×33 (2.150fr) (aR3)
GP1899/05/04-17, Chalands au bord d’un canal, 20×31 (360fr) (aR3)
GP1899/05/04-18, Tête de paysanne, 41×43 (410fr) (aR3)
GP1899/05/04-19, Tête de jeune fille, 36×31 (500fr) (aR3)
GP1899/05/04-20, Tête de jeune femme, 36×31 (400fr) (aR3)
GP1899/05/04-21, Le Tailleur de vigne, 41×59 (4.600fr) (aR3)
GP1899/05/04-22, Falaise près le Puys (Environs de Dieppe), 21×35 (700fr) (aR3)
GP1899/05/04-23, Vue prise près de Puys (Environs de Dieppe), 21×32 (610fr) (aR3)
GP1899/05/04-24, Tête de femme, 38×30 (499fr) (aR3)
GP1899/05/04-25, Tête de jeune fille, 38×29 (1.400fr) (aR3)
GP1899/05/04-26, L’enfant à la pomme, 40×32 (2.800fr) (aR3)
GP1899/05/04-27, Le vieux marin, 59×51 (3.400fr) (aR3)
GP1899/05/04-28, Octogénaire, 58×47 (820fr) (aR3)
GP1899/05/04-29, Rue de Honfleur, 67×46 (3.900fr) (aR3)
GP1899/05/04-30, Port de Honfleur, 25×45 (3.500fr) (aR3)
GP1899/05/04-31, Jeune mère et son enfants, 55×45 (3.400fr) (aR3)
GP1899/05/04-32, Lavoir au Butin, à Honfleur, 45×64 (3.000fr) (aR3)
GP1899/05/04-33, La petite Idiote, 16×13 (400fr) (aR3)
GP1899/05/04-34, Tête de femme, 40×32 (630fr) (aR3)
GP1899/05/04-35, Tête de “Claudine”, 40×32 (680fr) (aR3)
GP1899/05/04-36, Tête de vieux marin, 31×25 (not put to sale) (aR3)
GP1899/05/04-37, Forêt de Compiègne, Chemin d’Orrouy, 21×16 (420fr) (aR3)
GP1899/05/04-38, Paysage normand, 70×120 (1.700fr) (aR3)
GP1899/05/04-39, Saint-Siméon, 34×53 (1.560fr) (aR3)
GP1899/05/04-40, Entrée du Grand Trou, à Gilocourt (Oise), 43×78 (1.250fr) (aR3)
GP1899/05/04-41, Maison Messerat, aux Éluats, 37×61 (1.250fr) (aR3)
GP1899/05/04-42, Femme au sein, 54×45 (2.000fr) (aR3)
GP1899/05/04-305, Tête de femme, SDbr, 8bre 1835, pastel, 19×21 (R522-2)
GP1899/05/04-331, Tête de femme, SDtr, 1878, , dessin, 37×30 (R522-2)
GP1899/05/04-332, L’heureuse Mère, SDtr, 1880, dessin, 30×24 (R522-2)
GP1899/05/04-333, Vieille femme, SDbr, 1878, dessin, 21×18 (R522-2)
GP1899/05/04-334, L’âtre, SDtl, 1878, dessin rehaussé de blanc, 16×23 (R522-2)
GP1899/05/04-335, L’heureuse Mère, SDbl, dessin, 25×30; sale Cals 1878; sale Hadengue 1879 (R522-2)
GP1899/05/04-336, La ferme au soleil couchant, SDbl, 1870, dessin, 12×23 (R522-2)
GP1899/05/04-337, Buveur de cidre, SDbl, 1872, dessin, 22×20 (R522-2)
GP1899/05/04-338, Repas frugal (Honfleur, à St-Siméon, 1875), SDbl, 1875, dessin, 20×24; sale 1876/01/26 (R522-2)
GP1899/05/04-339, Trois paysages d’Orrouy, (1859 +1861), dessin, 10×16; 13×11; 12×18 (R522-2)
GP1899/05/04-340-1, Source de la Bièvre (8 mai 1858), dessin (R522-2)
GP1899/05/04-340-2, Fontenay (2 7bre 1858), dessin (R522-2)
GP1899/05/04-341-1, Paysanne assise, près de la porte ouverte, dessin, Sbl, 12×10 (R522-2)
GP1899/05/04-341-2, En famille, dessin, Sbl, 12×16 (R522-2)
GP1899/05/04-342-1, La Rue des Matelots, au Pallet (7bre 1862), dessin, 13×20 (R522-2)
GP1899/05/04-342-2, Rue du Ravelin, au Pallet (12 7bre 1862), dessin, 14×22 (R522-2)
GP1899/05/04-343-1, Autour du foyer (3 Xbre 64), dessin, 12×13 (R522-2)
GP1899/05/04-343-2, Dans la maison Baudequin (8 août 59), dessin (R522-2)

Gustave Colin: 1884, SDbl, The old oaks of Belchenia in Urrugne, 131x98, MBA Arras (iR10;iR94;M174;iR1;R462,p37) Sales: =? HD1882-30. Les vieux Chênes de Belcheneia, à Urrugne, premiers jours d’automne, 100×130; =HD1886-12, Les Vieux Chênes de Belcheneia à Urrugne, près Saint-Jean-de-Luz, Septembre; temps de nord-est, matin, 132×97. Expos: =SdAF-1887-571, Les vieux chênes de Belcheneia, environs de Saint-Jean-de-Luz (appartient à M. le comte Doria); =? GP1901-solo-35; Arras-1867-60. — Gustave Colin: 1884, SDbl, The old oaks of Belchenia in Urrugne, 131×98, MBA Arras (iR10;iR94;M174;iR1;R462,p37) Sales: =? HD1882-30. Les vieux Chênes de Belcheneia, à Urrugne, premiers jours d’automne, 100×130; =HD1886-12, Les Vieux Chênes de Belcheneia à Urrugne, près Saint-Jean-de-Luz, Septembre; temps de nord-est, matin, 132×97. Expos: =SdAF-1887-571, Les vieux chênes de Belcheneia, environs de Saint-Jean-de-Luz (appartient à M. le comte Doria); =? GP1901-solo-35; Arras-1867-60.

Gustave Colin: 18xx, Stl, Young woman with mantilla, on wood, 27x22 A2020/02/25 (iR259;iR17) Former Doria collecton. =?? SNBA-1891-202, Portrait de Mlle M. D… (iR1). Compare: 1IE-1874-45, Haurra-Maria (R2,p120) — Gustave Colin: 18xx, Stl, Young woman with mantilla, on wood, 27×22 A2020/02/25 (iR259;iR17) Former Doria collecton. =?? SNBA-1891-202, Portrait de Mlle M. D… (iR1). Compare: 1IE-1874-45, Haurra-Maria (R2,p120)

Works of Colin in former collection of Count Doria:
The following works of Gustave Colin were once in the Armand Doria collection:

SdAF-1887-571, Les vieux chênes de Belcheneia; environs de Saint-Jean-de-Luz; Appartient à M. le comte Doria
SNBA-1890-208, L’Ecoute cassée (Pêcheurs surpris par un grain); Appartient au comte Doria
SNBA-1891-204, “Novillada” sur la place d’un village Guiposcoan (Espagne); M. le comte Doria
SNBA-1891-205, Marin de Saint-Jean-de Lyz, dirigeant un navire dans les passes (gros temps); M. le comte Doria
SNBA-1892-247, Dernier espoir; Appartient à M. le comte Doria
SNBA-1892-248, La Digue de Socoa; Appartient à M. le comte Doria
SNBA-1892-249, La Mer à Saint-Jean-de-Luz; Appartient à M. le comte Doria
SNBA-1892-250 , Retour de pêche; Appartient à M. le comte Doria
SNBA-1892-251, Saint-Sébastien; Août 1891; Appartient à M. le comte Doria
SNBA-1893-233, En Navarre; Appartient à M. le comte Doria
SNBA-1893-234, Navire cherchant refuge en rade de Saint-Jean-de-Luz; Appartient à M. le comte Doria
SNBA-1893-235, Orage dans les Pyrénées; Appartient à M. le comte Doria
SNBA-1894-266, La mer à Guethary (novembre); Appartient à M. le vicomte F. Doria
SNBA-1895-298, Pêcheur en rade; Appartient à M. le comte Doria
SNBA-1895-299, Route de Gavarnie; Appartient à M. le comte Doria
SNBA-1895-300, Golfe de Gascogne; Appartient à M. le comte Doria
SNBA-1896-315, Digue de mer; Appartient à M. le comte Doria
GP1899/05/04-46, Course de Novillos (Jeunes taureaux), 105×157 (5.000fr) (aR3)
GP1899/05/04-47, Cabaret en Navarre, 100×61 (4.100) (aR3)
GP1899/05/04-48, La Scarpe cenalisée, près d’Arras, 16×31 (165) (aR3)
GP1899/05/04-49, Un soir à Lézo, Guipuscoa (Pays basque), 80×64 (2.410fr) (aR3)
GP1899/05/04-50, Honfleur, 15×31 (100) (aR3)
GP1899/05/04-51, Une course de taureaux, 53×64 (1.450fr) (aR3)

Stanislas Lépine: 1881?, Le canal Saint-Martin, 116x136, ?Kh Bremen (iR39;iR10;R455-1;M58) Provenance: Armand Doria; HD1899/05/04-169 (9.400fr) — Stanislas Lépine: 1881?, Le canal Saint-Martin, 116×136, ?Kh Bremen (iR39;iR10;R455-1;M58) Provenance: Armand Doria; HD1899/05/04-169 (9.400fr)

Stanislas Lépine: 18??, Sbl, CR377, Le confluent de la Seine et de l'Oise (conflans Sainte-Honorine vu de chanteloup), on panel, 16x24, Axx (iR14;R232;R208,no377;R455-3) Provenance: Père Martin: Armand Doria; GP1899/05/04-183 (500fr) — Stanislas Lépine: 18??, Sbl, CR377, Le confluent de la Seine et de l’Oise (conflans Sainte-Honorine vu de chanteloup), on panel, 16×24, Axx (iR14;R232;R208,no377;R455-3) Provenance: Père Martin: Armand Doria; GP1899/05/04-183 (500fr)

Works of Lépine in former collection of Count Doria:
The following works of Stanislas Lépine were once in the Armand Doria collection:

GP1899/05/04-169, La Canal Saint-Martin, 116×136 (9.400fr) (aR3)
GP1899/05/04-170, La Seine, à Paris, 52×86 (10.700fr) (aR3)
GP1899/05/04-171, Confluent de la Seine et de la Marne, 155×182 (7.500fr) (aR3)
GP1899/05/04-172, Un Canal en Hollande (Claire de lune), 45×54 (2.290fr) (aR3)
GP1899/05/04-173, Restaurant au bord de l’eau, 38×65 (1.550fr) (aR3)
GP1899/05/04-174, La Seine, près des Tuilleries (Claire de lune), 27×38 (2.050fr) (aR3)
GP1899/05/04-175, Quai de Bercy, 30×48 (2.000fr) (aR3)
GP1899/05/04-176, La Rue du Mont-Cenis, à Montmartre, 35×26 (960fr) (aR3)
GP1899/05/04-177, Claire de lune, 24×32 (780fr) (aR3)
GP1899/05/04-178, L’Estacade, à Paris, 31×45 (1.690fr) (aR3)
GP1899/05/04-179, Pont de Sèvres, Vue prise du viaduc de Meudon, hauteur des Moulineaux (1876), 23×33 (660fr) (aR3)
GP1899/05/04-180, La Seine, à Paris, 20×40 (1.490fr) (aR3)
GP1899/05/04-181, L’Estacade, 14×23 (700fr) (aR3)
GP1899/05/04-182, Côtes de Normandie, près Luc et Bernières (Calvados), Novembre, 15×26 (200fr) (aR3)
GP1899/05/04-183, Conflans, panneau, 15×23 (500fr) (aR3)
GP1899/05/04-184, Bords de Rivière, panneau, 15×23 (490fr) (aR3)
GP1899/05/04-185, Le Torcadéro, panneau, 15×23 (780fr) (aR3)
GP1899/05/04-186, Le petit bras de la Seine, au Pont-Neuf, panneau, 15×23 (1.090fr) (aR3)
GP1899/05/04-187, Terrassiers, au Trocadéro, panneau, 15×23 (740fr) (aR3)

Victor Vignon, 8IE-1886-218, L'église de Jouy, effet de soleil, mars. Maybe?: 18xx, Sbl, L'église de Jouy-le-Comte, 33x46, A2010/03/10 (iR11;iR13;iR15;R2,p447;iR1;R90I,p425) =? GP1899/05/04-248, L’Église de Jouy-le-Comte (Vue du chemin du Cimetière), 31x45, former Comte Armand Doria collection (aR14=iR40;R232;R154) — Victor Vignon, 8IE-1886-218, L’église de Jouy, effet de soleil, mars. Maybe?: 18xx, Sbl, L’église de Jouy-le-Comte, 33×46, A2010/03/10 (iR11;iR13;iR15;R2,p447;iR1;R90I,p425) =? GP1899/05/04-248, L’Église de Jouy-le-Comte (Vue du chemin du Cimetière), 31×45, former Comte Armand Doria collection (aR14=iR40;R232;R154)

Victor Vignon: 5IE-1880-222, Arbres fruitiers et maisons; appartiennent à M. Martin =? 18xx, Reed house in Cheneval, 33x46, A2019/12/05 (iR13;R2,p314;iR1;R90I,p263) =? GP1899/05/04-233, Chaumières à Chenival, 31x44, former Comte Armand Doria collection (aR14=iR40;R232;R154) — Victor Vignon: 5IE-1880-222, Arbres fruitiers et maisons; appartiennent à M. Martin =? 18xx, Reed house in Cheneval, 33×46, A2019/12/05 (iR13;R2,p314;iR1;R90I,p263) =? GP1899/05/04-233, Chaumières à Chenival, 31×44, former Comte Armand Doria collection (aR14=iR40;R232;R154)

Victor Vignon, 5IE-1880-218, Chemin dans les vignes, étude. Compare: 18xx, Vast landscape with vines, 22x29, A2018/07/12 (iR13;iR11;R2,p314;iR1;R90I,p263;R90I,p308+313). Compare: GP1899/05/04-236, Le chemin des vignes, à Hédouville (Seine-et-Oise), 31x46, former Comte Armand Doria collection (aR14=iR40;R232;R154) — Victor Vignon, 5IE-1880-218, Chemin dans les vignes, étude. Compare: 18xx, Vast landscape with vines, 22×29, A2018/07/12 (iR13;iR11;R2,p314;iR1;R90I,p263;R90I,p308+313). Compare: GP1899/05/04-236, Le chemin des vignes, à Hédouville (Seine-et-Oise), 31×46, former Comte Armand Doria collection (aR14=iR40;R232;R154)

Victor Vignon, 6IE-1881-156, Saulaie à Bougival. Option: 1879, Les ormes (Elm trees), on wood, 11x23, A1999/05/30 (R272,no6;iR13;R2,p356;iR1;R90I,p328). Maybe?: 7IE-1882-201, Étude d’arbres (Île de Croissy). Maybe?: GP1899/05/04-241, Les Saules, 15x24, former Comte Armand Doria collection (aR14=iR40;R232;R154). — Victor Vignon, 6IE-1881-156, Saulaie à Bougival. Option: 1879, Les ormes (Elm trees), on wood, 11×23, A1999/05/30 (R272,no6;iR13;R2,p356;iR1;R90I,p328). Maybe?: 7IE-1882-201, Étude d’arbres (Île de Croissy). Maybe?: GP1899/05/04-241, Les Saules, 15×24, former Comte Armand Doria collection (aR14=iR40;R232;R154).

Victor Vignon, EU1900-660, ? =1880ca, Still-life with Oranges, 34x42, Baltimore MA (?) (iR2;iR94;M24) Provenance: Viau; sale DR1907/03/21-86, Nature morte, sucrier, tasse, orange ouverte, couteau, 34x46, Sbr, former Doria and Viau collection (R272,p30;aR7=iR261) Expos: =? GP1899/05/04-231, Sucrier et oranges, 34x45, former Comte Armand Doria collection (aR14=iR40;R232;R154); EU-1900-C-660, Nature Morte (à M. Viau) — Victor Vignon: 1880ca, Still-life with Oranges, 34×42, Baltimore MA (?) (iR2;iR94;M24) Provenance: Viau; sale DR1907/03/21-86, Nature morte, sucrier, tasse, orange ouverte, couteau, 34×46, Sbr, former Doria and Viau collection (R272,p30;aR7=iR261) Expos: =? GP1899/05/04-231, Sucrier et oranges, 34×45, former Comte Armand Doria collection (aR14=iR40;R232;R154); EU-1900-C-660, Nature Morte (à M. Viau)

Victor Vignon, 18xx, Str, Nature morte aux carottes et aux oignons (Still life with carrots and onions), on panel, 19x25, A2008/12/12 (iR13;aR1). Compare: DR1907/03/21-89, Sbl, Nature morte, fromage, radis et pot d’étain (avec oignons à la pelure dorée), 32x40, former Doria and Viau collection (R272,p30;aR7=iR261) — Victor Vignon, 18xx, Str, Nature morte aux carottes et aux oignons (Still life with carrots and onions), on panel, 19×25, A2008/12/12 (iR13;aR1). Compare: DR1907/03/21-89, Sbl, Nature morte, fromage, radis et pot d’étain (avec oignons à la pelure dorée), 32×40, former Doria and Viau collection (R272,p30;aR7=iR261)

Works of Vignon in former collection of Count Doria:
The following works of Victor Vignon were once in the Armand Doria collection:

GP1899/05/04-229, Château de Croissy, 16×24 ; 260fr
GP1899/05/04-230, Noroy (Aisne), 31×39 ; 540fr.
GP1899/05/04-231, Sucrier et oranges, 34×45, 230fr.
GP1899/05/04-232, 1885, Vaux, près de Champagne (Seine-et-Oise), 35×38 ; 500fr.
GP1899/05/04-233, Chaumières à Chenival, 31×44 ; 820fr.
GP1899/05/04-234, Chemin du Cimetière, à Jouy-le-Comte (Seine-et-Oise), 45×37 ; 700fr.
GP1899/05/04-235, Vallée du Saussiron, vue de la plaine de Fontenille, 31×39 ; 400fr.
GP1899/05/04-236, Le chemin des vignes, à Hédouville (Seine-et-Oise), 31×46 ; 620fr.
GP1899/05/04-237, La maison du père Mayeux, à Varengeville, 37×45 ; 650fr.
GP1899/05/04-238, Plaine des Chaînes, près Val-Hermay, 31×44 ; 420fr.
GP1899/05/04-239, Pot et fruits, 32×41 ; 310fr.
GP1899/05/04-240, Dans la prairie (Saint-Waast, près la Ferté-Milon), on panel, 20×27 ; 150fr.
GP1899/05/04-241, Les Saules, 15×24 ; 135fr.
GP1899/05/04-242, Hameau de Vaux, près de Champagne (Seine-et-Oise), 31×46 ; 450fr.
GP1899/05/04-243, Les falaises de Varangeville, 53×54 ; 600fr.
Note: meant is Varengeville.
GP1899/05/04-244, Jouy-le-Comte (Seine-et-Oise), 31×45, 500fr. ;
GP1899/05/04-245, Jouy-le-Comte (La Cavée), 36×45 ; 440fr.
GP1899/05/04-246, Saint-Nicolas, effet de brouillard (Vallée de l’Oise), 31×45 ; 560fr.
GP1899/05/04-247, 1886, Parmain (Seine-et-Oise), 26×34 ; 350fr.
GP1899/05/04-248, L’Église de Jouy-le-Comte (Vue du chemin du Cimetière), 31×45 ; 710fr.
GP1899/05/04-249, Femme épluchant des pommes de terre, 38×45 ; 275fr.
GP1899/05/04-250, Le chemin de la plaine de Fontenelle, 31×44 ; 450fr.

Count Doria once owned:
Count Doria once owned the following works of the following partakers of the ‘impressionist’ expositions:

Of Eugène Boudin:
GP1899/05/04-5, La sortie du Port, à Honfleur, 15×55 (4.100fr) (aR3)
GP1899/05/04-6, Coup de vent, 42×45 (4.290fr) (aR3)
GP1899/05/04-253, Landerneau, aquarelle, Sbr, 23×35 (R455-2)
GP1899/05/04-254, La Mare, aquarelle, Sbl, 18×32 (R455-2)

Of Félix Bracquemond:
GP1899/05/04-558, Vue du Pont des Saints-Pères, etch 3rd state, Béraldi 217,

Paul Cézanne: 1879-80ca, V336, Melting Snow, Fontainebleau, 77x101, MoMa New York (iR6;M41;R48,no374;R455;R88I,p203;R22I,p331;R189,no336) Provenance: Armand Doria; GP1899/05/04-45, La Neige fondante (étude de la forêt de Fontainebleau), 72x99 = (6.750fr) -> Durand-Ruel for Monet. — Paul Cézanne: 1879-80ca, V336, Melting Snow, Fontainebleau, 77×101, MoMa New York (iR6;M41;R48,no374;R455;R88I,p203;R22I,p331;R189,no336) Provenance: Armand Doria; GP1899/05/04-45, La Neige fondante (étude de la forêt de Fontainebleau), 72×99 = (6.750fr) -> Durand-Ruel for Monet.

Claude Monet: 1873, Sbr, CR270, Barges at Asnières, 55x74, A2010/05/05 (iR14;R22,no270) Provenance: 1875/06? Meixmoron de Dombasle; Comte Armand Doria; sale GP1899/05/04-193, Bateaux sur un fleuve (7.000fr) -> Bernheim-Jeune (R455). — Claude Monet: 1873, Sbr, CR270, Barges at Asnières, 55×74, A2010/05/05 (iR14;R22,no270) Provenance: 1875/06? Meixmoron de Dombasle; Comte Armand Doria; sale GP1899/05/04-193, Bateaux sur un fleuve (7.000fr) -> Bernheim-Jeune (R455).

Armand Guillaumin: 1870ca, CR-, La Seine à Ivry, 27x35, A2019/03/29 (iR15;R2,p394) Provenance: former Doria collection. Expo: =??? 7IE-1882-42, étude. — Armand Guillaumin: 1870ca, CR-, La Seine à Ivry, 27×35, A2019/03/29 (iR15;R2,p394) Provenance: former Doria collection. Expo: =??? 7IE-1882-42, étude.

Berthe Morisot: 1875, 1=2CR56, The steam boat, 32x45 (56x69), Axx (iR10;iR94;iR14;iR6;R90II,p42;R100,p27+no56;R2,p163;R186,no56) Provenance: Doria; sale 1899/05/04; Durand-Ruel; Monet. Expos: =!? 2IE-1876-172, Le bateau à vapeur; =5SdA-1907-148. — Berthe Morisot: 1875, 1=2CR56, The steam boat, 32×45 (56×69), Axx (iR10;iR94;iR14;iR6;R90II,p42;R100,p27+no56;R2,p163;R186,no56) Provenance: Doria; sale 1899/05/04; Durand-Ruel; Monet. Expos: =!? 2IE-1876-172, Le bateau à vapeur; =5SdA-1907-148.

Camille Pissarro, 3IE-1877-176, Paysage avec ruine (automne). Maybe?: 1874, CCP335, Fog, Pontoise, 46x56, xx (iR94;iR10;R116,CCP335;R2,p206) Provenance: Hoschedé; HD1878/06/05-68; Diot; Armand Doria; GP1899/05/04-199 (1.800fr); Arnauld Doria. — Camille Pissarro, 3IE-1877-176, Paysage avec ruine (automne). Maybe?: 1874, CCP335, Fog, Pontoise, 46×56, xx (iR94;iR10;R116,CCP335;R2,p206) Provenance: Hoschedé; HD1878/06/05-68; Diot; Armand Doria; GP1899/05/04-199 (1.800fr); Arnauld Doria.

Camille Pissarro: CCP353, 1874, SDbl, Spring morning, Pontoise, 46x55, A2010/05/04 (iR11;R116,CCP353;R2,p312) Expo: =? 5IE-1880-135, Printemps. Provenance: Armand Doria; GP1899/05/04-196 (2.900fr DR+BJ) — Camille Pissarro: CCP353, 1874, SDbl, Spring morning, Pontoise, 46×55, A2010/05/04 (iR11;R116,CCP353;R2,p312) Expo: =? 5IE-1880-135, Printemps. Provenance: Armand Doria; GP1899/05/04-196 (2.900fr DR+BJ)

Alfred Sisley: 1876, SDbl, CR249=CCPP261, The first hoarfrost, the watering place at Marly-le-Roi, 46x55, private (iR2;R129,no249;R396,no261) Provenance: Comte Armand Doria; sale GP1899/05/04-222 -> Durand-Ruel; 1900/02/24 Bernheim-Jeune; Jules Strauss; sale HD1902/05/03-70. Expos: Compare: 2IE-1876-238, Avenue de l’Abreuvoir, effet de givre; appartient à Mme Latouche; =? GP1897-85, Gelée blanche, 1874 (sic?), appartient à M. le comte Doria. — Alfred Sisley: 1876, SDbl, CR249=CCPP261, The first hoarfrost, the watering place at Marly-le-Roi, 46×55, private (iR2;R129,no249;R396,no261) Provenance: Comte Armand Doria; sale GP1899/05/04-222 -> Durand-Ruel; 1900/02/24 Bernheim-Jeune; Jules Strauss; sale HD1902/05/03-70. Expos: Compare: 2IE-1876-238, Avenue de l’Abreuvoir, effet de givre; appartient à Mme Latouche; =? GP1897-85, Gelée blanche, 1874 (sic?), appartient à M. le comte Doria.

Alfred Sisley: 1875, SDbr, CR190=CCPP172, Une prairie aux environs de Louveciennes, 55x73, NGA Washington (iR3;iR2;iR40;R38;R129,no190;R396,no172;M21) Provenance: Armand Doria; sale GP1899/05/04-224; Durand-Ruel; 1900/02/24 Bernheim-Jeune; Jules Strauss; sale HD1902/05/03-60; Georges Petit. Expo: GP1897-86, Le Printemps, 1875, appartient à M. le comte Doria. — Alfred Sisley: 1875, SDbr, CR190=CCPP172, Une prairie aux environs de Louveciennes, 55×73, NGA Washington (iR3;iR2;iR40;R38;R129,no190;R396,no172;M21) Provenance: Armand Doria; sale GP1899/05/04-224; Durand-Ruel; 1900/02/24 Bernheim-Jeune; Jules Strauss; sale HD1902/05/03-60; Georges Petit. Expo: GP1897-86, Le Printemps, 1875, appartient à M. le comte Doria.

Alfred Sisley: 1875, SDbr, CR181=CCPP194, SDbr, Soleil couchant à l'automne, 46x61, Leeds AG (iR2;iR40;R129,no181;R396,no194;M67) Provenance: Armand Doria; sale GP1899/05/04-225. Expo: GP1897-88, Bords de l'Oise, le soir, 1875, appartient à M. comte Doria. — Alfred Sisley: 1875, SDbr, CR181=CCPP194, SDbr, Soleil couchant à l’automne, 46×61, Leeds AG (iR2;iR40;R129,no181;R396,no194;M67) Provenance: Armand Doria; sale GP1899/05/04-225. Expo: GP1897-88, Bords de l’Oise, le soir, 1875, appartient à M. comte Doria.

Of Paul Cézanne:
La Maison du Pendu (R88I,p203); bought for 200 fr (R87,p224) or 300fr (R1,p334;R8,p217).
Later exchanged with Chocquet for:
La Neige fondante (étude de la forêt de Fontainebleau), 72×99 =GP1899/05/04-45 (6.750fr Durand-Ruel for Monet) (R88I,p203;aR3;R22I,p331).

Of Edgar Degas:
GP1899/05/04-137, La Danseuse chez la photographe, 64×50 (22.000fr by Durand-Ruel) (aR3;R22I,p331)

Of Desboutin:

Of Armand Guillaumin:
GP1899/05/04-148, Le Cap Long, 59×72 (1.000fr) (aR3)
GP1899/05/04-149, Le bout des Mares, à Saint-Chéron (Juin 1891), 59×72 (1.500fr) (aR3)
GP1899/05/04-150, Le quai Saint-Bernard, à Paris (4h du soir), 51×70 (1.320fr) (aR3)
GP1899/05/04-151, Le Moulin Brigand et les Ruins du Château des Sept-Tours, 59×72 (850fr) (aR3)
GP1899/05/04-152, Route de Damiette, 59×72 (950fr) (aR3)
GP1899/05/04-153, Chemin des Carrières, à Miregouden, 63×79 (1.100fr) (aR3)
GP1899/05/04-154, Chênes verts à Saint-Palais (Marée basse), 64×80 (1.380fr or 680fr) (aR3)
GP1899/05/04-155, Ferme de Peschadoire (Auvergne), 63×80 (650fr) (aR3)
GP1899/05/04-156, Le Clos de la Douane, à Palais-sur-Mer (Soleil d’août), 72×81 (1.050fr) (aR3)
GP1899/05/04-157, La Liseuse, 72×58 (400fr) (aR3)

Of Claude Monet:
GP1899/05/04-193, Bateaux sur un fleuve, 55×74 (aR3); sold for 7.000fr to Bernheim-Jeune; now: 1873ca, Péniches à Asnières (R22I,p331+CR270;R455-1).

Of Berthe Morisot:
GP1899/05/04-194, Femme cousant, 64×53 (3.200fr by Durand-Ruel + Bernheim-Jeune) (aR3)
GP1899/05/04-195, Bateaux, 82×45 (2.250fr) (aR3)

Of Camille Pissarro:
GP1899/05/04-196, Matinée de Printemps, 44×54 (2.500fr by Durand-Ruel + Bernheim-Jeune) (aR3); =CCP353 (R116I,p428)
GP1899/05/04-197, La Charette, 44×53 (990fr) (aR3;R116I,p428)
GP1899/05/04-198, Moutons rentrant à la bergerie, 45×37 (1.600fr by Durand-Ruel + Bernheim-Jeune) (aR3); =CCP819 (R116I,p428)
GP1899/05/04-199 Effet de Brouillard en Novembre. 45×54 (1.800fr by Arnauld Doria?) (aR3); =CCP335 (R116I,p428)

Berthe Morisot: 1879ca, Stl, CR83, Femme cousant, 65x55, AKAG Buffalo (M34;R100,p29;iR6) Provenance: Armand Doria; GP18990504-194 (3.200fr) -> Durand-Ruel + Bernheim-Jeune. — Berthe Morisot: 1879ca, Stl, CR83, Femme cousant, 65×55, AKAG Buffalo (M34;R100,p29;iR6) Provenance: Armand Doria; GP18990504-194 (3.200fr) -> Durand-Ruel + Bernheim-Jeune.

Auguste Renoir: 1878ca, Str, 1F328=2F322, Portrait de Jeanne Samary, 41x32, A2023/04/19 (iR14;iR10;R455-1) Provencance; Armand Doria; GP1899/05/04-204, Jeune femme, 41x32 (6.700fr) -> M. Lagarde. — Auguste Renoir: 1878ca, Str, 1F328=2F322, Portrait de Jeanne Samary, 41×32, A2023/04/19 (iR14;iR10;R455-1) Provencance; Armand Doria; GP1899/05/04-204, Jeune femme, 41×32 (6.700fr) -> M. Lagarde.

Auguste Renoir: 1876ca, 1F212=2F208, Stl, At the theatre (La première sortie), 65x50, NG London (iR6;iR4;iR10;R31,p27,note28;R32,p29;R30=R193,no212;R190,no208;M61) Provenance: Armand Doria; GP1899/05/04-203, Café-concert (10.000fr) — Auguste Renoir: 1876ca, 1F212=2F208, Stl, At the theatre (La première sortie), 65×50, NG London (iR6;iR4;iR10;R31,p27,note28;R32,p29;R30=R193,no212;R190,no208;M61) Provenance: Armand Doria; GP1899/05/04-203, Café-concert (10.000fr)

Auguste Renoir: 1875ca, Sbr, 2F194=2D28, Glaïeuls (Gladiolas in a vase), 73x60, A2016/05/09 (iR10;iR132;iR6;iR14;R460,p158,note6+8;R31,p27,note23;R190,no194;R185,no28) Provenance: Durand-Ruel; 1876/07/18 Armand Doria; GP1899/05/04-210 (2.600fr) -> Durand-Ruel + Bernheim-Jeune. Expo: DR1908-27. — Auguste Renoir: 1875ca, Sbr, 2F194=2D28, Glaïeuls (Gladiolas in a vase), 73×60, A2016/05/09 (iR10;iR132;iR6;iR14;R460,p158,note6+8;R31,p27,note23;R190,no194;R185,no28) Provenance: Durand-Ruel; 1876/07/18 Armand Doria; GP1899/05/04-210 (2.600fr) -> Durand-Ruel + Bernheim-Jeune. Expo: DR1908-27.

Alfred Sisley: 1875 (1878), SDbr, CR282=CCPP323, Snow at Louveciennes, 61x50, Orsay (iR6;iR2;iR11;R53,p108;R38;R166,p180;R396,no323;R129,no282;R455) Provenance: Armand Doria; GP1899/05/04-223, Effet de neige, 62x38 (6.050fr) -> Isidore Montaignac. — Alfred Sisley: 1875 (1878), SDbr, CR282=CCPP323, Snow at Louveciennes, 61×50, Orsay (iR6;iR2;iR11;R53,p108;R38;R166,p180;R396,no323;R129,no282;R455) Provenance: Armand Doria; GP1899/05/04-223, Effet de neige, 62×38 (6.050fr) -> Isidore Montaignac.

Of Auguste Renoir:
GP1899/05/04-202, La Pensée. 60×54 (22.100fr) (aR3;R430,p214); =1D227=1F305, Young woman seated (R30,no305;R455-1)
GP1899/05/04-203, Café-concert. 65×50 (10.000fr) (aR3); now in the National Gallery in London (R31,p27,note28); =1F212 (R30=R193,no212;R455-1;M61;iR4).
GP1899/05/04-204, Jeune femme, 41×32 (6.700fr by M. Lagarde) (aR3;iR14;R455-1)
GP1899/05/04-205, Tête de femme, 60×40 (9.000fr) (aR3)
GP1899/05/04-206, La jeune fille au banc, 61×50 (2.400fr) (aR3)
GP1899/05/04-207, La jeune fille aux long cheveux, 54×45 (6.000fr) (aR3)
GP1899/05/04-208, Les Grands Boulevards (Paris), 49×60 (5.750fr Durand-Ruel) (aR3); =1875, 1F185=2F181, (R460,no30)
GP1899/05/04-209, Tête d’Enfant, 15×13 (689fr) (aR3)
GP1899/05/04-210, Glaïeuls, 73×57 (aR3); sold for 2.600fr to Durand-Ruel + Bernheim-Jeune (R185,no28); 1876/07/18 sold by Durand-Ruel as ‘Bouquets de Glaieuls’ to Count Doria for 150fr (R460,p158,note6+8;R31,p27,note23); now 2F194=2D28 (R190,no194;R185,no28)
GP1899/05/04-211, Verger à Louveciennes (Seine-et-Oise 1875), 54×64 (2.700fr) (aR3); 1876/07/18 sold by Durand-Ruel as ‘Amandiers en fleurs (matin) to Count Doria for 112,50fr; sized 54x64cm; now lost (R460,p157+158,note6+7;R31,p27,note23)
Paysage Vert; 1876/07/18 sold by Durand-Ruel to Count Doria for 112,50fr (R460,p157+158,note6+8;R31,p27,note23)

Of Alfred Sisley:
CCPP150, 1874, Une auberge à Molesey et le pont de Hampton Court (R396,no150)
CCPP191, 1875, Bords de Seine à Port-Marly (R396,no191)
GP1899/05/04-222, Première gelée blanche, 46×56 (9.000fr Durand-Ruel) (aR3) =CCPP261, 1876, Première gelée blanche, Abreuvoir de Marly-le-Roi (R396,no261;R129,no249)
GP1899/05/04-223, Effet de neige, 62×38 (6.050fr Isidore Montaignac) (aR3) =CCPP323, 1878, La neige à Louveciennes, chemin de l’Étarché (R396,no323)
GP1899/05/04-224, La prairie, 53×72 (6.000fr Durand-Ruel) (aR3) =CCPP172, 1875, Une prairie aux environs de Louveciennes (R396,no172;R129,no190)
GP1899/05/04-225, Soleil couchant, 44×59 (6.550fr Isidore Montaignac) (aR3) =CCPP194, 1875, Soleil couchant à l’automne (R396,no194;R129,no181)
Note: comte François Doria and later his son Arnauld Doria once owned CCPP742 +798 +905 +1007 (R396,p517;R166,p252).

Auguste Renoir: 1878ca, Str, 1F328=2F322, Portrait de Jeanne Samary (detail), 41x32, A2023/04/19 (iR14;iR10;R455-1) Provencance; Armand Doria; GP1899/05/04-204, Jeune femme, 41x32 (6.700fr) -> M. Lagarde. — Auguste Renoir: 1878ca, Str, 1F328=2F322, Portrait de Jeanne Samary (detail), 41×32, A2023/04/19 (iR14;iR10;R455-1) Provencance; Armand Doria; GP1899/05/04-204, Jeune femme, 41×32 (6.700fr) -> M. Lagarde.

Links to other works:
Here below you will find links to works from the Armand Doria catalogue that are not rendered here, namely from the GP1899/05/04 sale.

Corot: GP1899/05/04-52, Le moulin d’Étretat (23.500fr) (iR357;M5;R119,CR859)
Corot: GP1899/05/04-54, Nymphes sortant du bain (2.100fr) (iR155)
Corot: GP1899/05/04-55, Italienne (20.800fr) (M21;R119,CR2146)
Corot: GP1899/05/04-57, Le jeune grecque (14.500fr) (iR15;R119,CR1569)

Sources:
Monneret (R88I,p203), Rewald (R1,p322+334+382); Denvir (1992=R8,p217), Wildenstein (R22I,p331), Ann Distel (in R31,p21+27,note23+24); CCP Pissarro (R116I,p428); Berger (R207), Bailey et al. (R460,no.30+p157+158,note6+7+8), the Salon database (iR1), WikiPedia (iR3; iR4); geneanet (iR79).
For other sources see the general references (=R) see , for the references to internet pages (=iR) see.

Additional sources (=aRx):

gallica.bnf.fr//bpt6k64516992 Album-souvenir de la collection de Armand Doria. Preface de Arsène Alexandre and L. Roger-Milès. Paris, 1899; =iR40 =R455-1.
collection de Armand Doria Tome II: Aquarelles, pastels, dessins, gravures & sculptures. Preface de L. Roger-Milès. Paris, 1899; =iR19 =R455-2.
gallica.bnf.fr//bpt6k1248291r: catalogue 1899/05/04+05 sale collection M. le comte Armand Doria (see R154); =iR40 =R455-3.
dn790008.ca.archive.org: PDF catalogue 1901/04/29 anonymous sale at Hôtel Drouot; =iR19 = R240)
(According to one source (iR4) this contained part of the former Doria collection, but this is not noted in the catalogue.)
1999/10/27: there was an auction at Drouot Richelieu of the former Doria collection including paintings (and drawings) of Cals and Colin (www.Invaluable.com=iR17)
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Recommanded citation: “Meta-Impressionism, art-collectors: Count Armand Doria, a supporter of several ‘impressionists’. Last modified 2026/04/17. https://www.impressionism.nl/count-armand-doria/”

Note: additional info and pictures will be added.