Giuseppe de Nittis, account

 

 

Impressionism, a historical reconstruction:

Giuseppe de Nittis

(1846-1884)

Account

of his exhibited works

 

Introduction:
On this page you will find an account of the works that Giuseppe (called Joseph) de Nittis has exhibited at the 1st ‘impressionist’ exposition in 1874 (=1IE-1874), at the Salon (=S) from 1869-79, it’s successor the Salon de la Société des Artistes Français in 1884 (=SdAF-1884), the Exposition Universelle in 1878 (=EU1878), at Georges Petit (=GP), the Musée du Luxembourg in 1912 (=MdL1912) and in Venice in 1914 (=Venice-1914). For general info on Giuseppe de Nittis and the used sources see the main page. See the link for the pictures exhibited in 1874 and the ones at the Salon and other exhibitions and at posthumous exhibitions.
I will refer to the Catalogues Raisonnés of
Pittaluga + Piceni 1963 (=R421) =PP
Piceni 1972-1982 (=R278) =P
Dini, Marini & Mascolo 1990 (=R277) =DMM

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 115-118bis
  • no. 118 consisted of 2 or more studies of women; I assume 4; these were etchings
    probably he also showed a work outside the catalogue (hc)
  • so in total Joseph de Nittis exhibited at least 7 works, I assume 9,
    • 4x indication of place
    • 1x indication of time, season or weather
    • 2x a study
    • 0x loans (appartient à…).
  • See for the suggestions of Moffett (R2,p122), of Dayez / Adhémar (R87,p247), Berson (R90II,p11) and Patry/Robbins (R410,p271/2+275).
  • Moffett refers to: Piceni, Enrico: De Nittis, L’uomo e l’opera. Busto Arsizio: Bramante, 1979 (R2,p503), probably the same as R278:
    Piceni, E.: De Nittis; L’uomo e l’opera. 2 vol. Busto Arsizio, 1972-1982 (=P).
  • I namely used: Dini, P, G.L. Marini & R. Mascolo: De Nittis, la vita, i documenti, le opere dipenti. 2 vol. Turin, 1990 (=DMM).
    (On WikiMedia you can find an overview of this Catalogue Raisonné with many pictures; iR6).
    and partly also: Pittaluga, Mary & Enrico Piceni: De Nittis. Milano, 1963 (R421) (=PP).
    and: Morel, Dominique: Giuseppe de Nittis; la modernité élégante. Exhibition catalogue Petit Palais. Paris, 2010 (=R422)
  • See link for the pictures.

short overview given suggestions + reviews:
No.115: the title is just mentioned in a review. The sources render no suggestions (R2;R87;R90;R410). I can’t find a painting made in Blois (R277). To compare I render a random landscape.
No.116 depicted a moonrise at the Vesuvius. I couldn’t find 1 painting depicting this. To compare I render a sunrise at the Vesuvius and a moonlandscape made elsewhere. Patry/Robbins render a work that doesn’t depict a moonrise (R410,p271).
No. 117 depicted a landscape at the Vesuvius. De Nittis depicted this many times. Adhemar, Moffett and Patry/Robins render suggestions. But, a title in his letter 1874/04/23 suggests it depicted at least two horses on the slopes of the Vesuvius (R411). I render the suggestion of Adhemar and two more uncertain options.
No.118 are studies of women. A review indicates it were etchings (aR17=iR437). Patry/Robbins suggest an etch made in 1873 of which De Nittis made 4 states. I will render all four states. Other sources render no suggestion (R2;R87;R90) or an oil painting (DMM691=R277).
No.118bis depicted a road in Italy. De Nittis depicted this several times. Adhemar and Moffett suggest Piceni 19. A review suggests the picture that was exhibited at the Salon of 1872, which I will render.
No.118bis+hc: According to his letter 1874/04/23 De Nittis also showed a work titled ‘Grande étude des Laves noires’ outside the catalogue (R411). I render two very uncertain options depicting black lava.

Reviews:
Burty (1874/04/25) ‘The more moderate and no less valiant works of Messrs. Colin, Rouart, Boudin, Lépine, Ottin fils or de Nittis, the watercolours of Mr. Lepic, show how much is to be expected from this school.’ (R87,p262;R90I,p38)
Emile Cardon (1874/04/29) reviewed ‘Among these works, some surely could be presented to the jury of the official Exposition and will surely be accepted; but we have to add that these artists don’t belong in any way to the new school.  (…) M. de Nittis, who has obtained legitimate success at the last Salons.’ (R90I,p13)
As E.C. in Revue de France (vol.10, April 1874) he in general reviewed ‘except for a few paintings that are quite surprising to come across in such an environment and which don’t belong there in any respect: those of Boudin, Brandon, Gustave Colin, de Molins, de Nittis, – (but) the totality of the works collected by the Societe Anonyme, would have been indignantly refused by the official jury of the Salon’ (R90I,p11)
Etienne Carjat (1874/04/27) reviewed ‘The misters Denittis (sic) and Ottin have both send delightful microscopic pictures, which prove that one can make great things in a small space.’ (R90I,p14;R410,p272)
Ernest Chesnau (1874/05/07) reviewed: ‘To have invited to participate in this exhibition certain painters who are at the extreme end of the latest banalities of the official Salons, and even artists of undeniable talent, but acting in ways that differ from their own, such as the misters de Nittis, Boudin, Bracquemond, Brandon, Lépine, Gustave Colin, this is a major error of both logic and tactics.’ (R87,p268/9)
E. Drumont (1874/04/19) sums up ‘Furthermore we mention … le Paysage près de Blois, de Nillis (sic); …’ (R90I,p21)
Ernest d’Hervilly (1874/04/17) sums his name up ‘among the names written at the bottom of really remarquable works’ (R90I,p24)
E. Lepelletier (1874/04/19) reviewed ‘Among the landscapes we mention …. the views of Italy of M. de Nittis…’ (R90I,p24)
Léon de Lora (1874/04/18) reviewed ‘Among the very excellent landscapes we mention: … the views of Italy by M. de Nittis… (R90I,p27)
Le Phare de la Loire (1874/04/18) mentioned on “M. de Nettis (sic), of whom the route de Naples à Brindisi, of the Salon of 1872, made a reputation, and a very fine canvas, la compagne du Vésuve, some etchings (quelques eaux), executed with a light, witty touch, like his Danse du Parasol.” (R410,p275; aR17=iR437)
Giuseppe de Nittis himself made a review dated 1874/06/10, which was published 1874/07/01 in Il Giornale artistico. In this review he refers to his own works: ‘Some ‘call my studies shapeless sketches’. … answering the Fanfulla bourgeois (…) 4 of my best studies made in Napoli…’ (R90I,p31)
Le Père Siffleur (1874/04/26) only mentioned Un paysage près Blois as one of the few ‘serieus works, worthy of attention.’ (R90I,p38)
Armand Silvestre (1874/04/22) reviewed ‘Two artists who are only remotely associated with this tradition, Mrs. Boudin and Lépine, have exhibited marines, which could have been predicted from their earlier work and which do not tell us anything new. I have told as much on M. Denittis (sic).’ (R90I,p40)
See the seperate pages on the reviews and on the art-critics.

Letter 1874/04/23:
Giuseppe de Nittis was in London during the 1st ‘impressionist’ exposition. In a letter date 1874/04/23 he explained what he asked for his paintings rendering prices varying from 1200fr till 4900fr. He mentions 4 works. He leaves out no. 118 and doesn’t render the title of no.115, but renders another title instead (hc). (R411) See more here below.

1874 catalogue: (R2,p122;R90I,p7;iR1;R87,p247;R410,p266;R411)

1IE-1874-115, Paysage près de Blois
The first edition of the 1874 catalogue calls it ‘Paysage près Blois‘ and doesn’t note a price that is asked for this work.
Blois lies along the river the Loire about 183km south of Paris, see map. Maybe another location was meant. I couldn’t find a place called Blois near Naples. I couldn’t find information that De Nittis made a trip to Blois, but being quite rich, this is easily possible.
An unknown critic wrote about ‘his 4 views of Naples’, which could mean that this work was also made near Naples (R1,p340;aR2). Also De Nittis himself (1874/06/10) refers to 4 finished studies done in Napels (R90I,p31). This title doesn’t appear in the letter De Nittis wrote 1874/04/23. All this suggests this ‘French’ landscape wasn’t exhibited.
Berson refers to the review in Le Père Siffleur (R90II,p11), which is full of mistakes, disqualifying most of the works except 6 works of which he mentions the tittles, calling them ’truly remarkable’; this included ‘Un Paysage près de Blois’ of ‘de Nillis’ (sic) (R90I,p38). This suggests that this painting actually was exhibited, or that the author praised a work which he gave a wrong title.
I assume it was truly exhibited.
Adler suggests it was a ‘French painting of the area around Blois’ (R89,p95).
Dini (1990=R277) doesn’t render a work with ‘Blois’ in the title.
Adhémar, Moffett, Berson and Patry/Robbins don’t give a suggestion.
I don’t have a good suggestion either. So I render to compare a painting made in the 1870s depicting a scene along the Seine: 1870s, On the banks of the Seine, 27×35, private (R89,p15).

1IE-1874-116, Lever de lune, Vésuve
According to the first edition of the 1874 catalogue, de Nittis asked 1200fr. for this painting (R411).
Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27).
Adhémar, Moffett and Berson don’t give a suggestion.
Mount Vesuvius is a volcano near Naples. In 1872 this volcano also erupted (iR3) and Giuseppe de Nittis has depicted the Vesuvius about 70 times before, during and after this eruption. Mostly he did so on small panels. (iR8). All, this makes identification quite hard, but the title ‘rising of the moon’ offers some perspective. I couldn’t find a picture depicting the rising of the moon.
To compare I render: 18xx, Sunrise on Vesuvius, on panel, 14×23, A2008/11/08 (iR13;iR10;R2,p122); the sunrise resembles a bit the rising of the moon.
To compare I also render a pastel depicting a moon, but not made near the Vesuvius: 1882, Moonlight, pastel, 54×73, xx (iR160;aR5=iR261).
Patry/Robbins render as a substitue: 1872, Éruption du Vésuve, on wood, 25×16, Paris Fondation Custodia (R410,p132); there is no moon visible on this painting, so I won’t render this suggestion.

1IE-1874-117, Campagne du Vésuve
Giuseppe de Nittis asked 2000fr for this painting (R87,p224;R411).
In his letter of 1874/04/23 this amount is asked for a painting probably titled ‘Étude de Vésuve avec chevaux dans les pentes’ (R411). So probably this painting depicted at least two horses on the slopes of the Vesuvius.
Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27).
According to Moffett: for no. 117 or 118bis: perhaps Piceni 19, private collection in Milan (R2): 8xx, PP116 +P19 +DMM347, Strada in Italia, xx, private (R277,no347;R87,p247;R421,no116;R278,no19;R2,p122) Compare: 1IE-1874-118bis, Route en Italie. It depicts a road, so I think it doesn’t fit no.117.
Berson remarks on this suggestion that it is ‘one of de Nittis’s many versions of this subject’ and leaves the work unidentified (R90II,p11).
Patry/Robbins render two possible suggestions:
1. 1872, Sur les pentes du Vésuve, on wood, 31×18, GAM Milan (R410,p132;M107);
2. 1872, Sur les pentes du Vésuve, on wood, 14×18, GAM Milan (R410,p133;M107).
These two pictures don’t render horses, so I won’t follow this suggestion.
Adhémar suggests Campagne du Vésuve in a private collection (R87,p247): 18xx, DMM403, Impressione del Vesuvio X, xx, private (R277,no403;R87,p247;R2,p122;R90II,p11;R411). It depicts two horses, so it is a good suggestion.
I found two other pictures depicting horses (apart the one mentioned by Adhémar), which I will render as extra, but uncertain options:
1872ca, Study of the Vesuvius, on panel, 9×18, GAM Milan (iR8;R411;R2,p122;aR5=iR261;M107)
and: 1872, On the Vesuvian hills, 15×23, PGdN Barletta (iR10;iR435;M262).
When we look at the price de Nittis asked for this work, you would aspect a more larger and finished painting, which I couldn’t find.
See also to compare the works exhibited posthumously in Venice: Venice-1914, no.38-46, Sulle pendici del Vesuvio I-IX (On the slopes of Vesuvius).
I render also 4 other options to compare:
18xx, Campagna vesuviana (Vesuvian countryside), 18×32, private (iR2;R2,p122);
and: 1872ca, Study of the Vesuvius 4, on panel, 13×18, GAM Milan (iR8;R2,p122;M107);
and: 1872ca, Study of the Vesuvius 2, on panel, 9×18, GAM Milan (iR8;R2,p122;M107);
and: 1873, CR437, SDbr, Return from Mount Vesuvius, on board, 19×32, A2009/06/09 (HW;iR14;iR11;R277,no437;R2,p122), this last work is more finished.

1IE-1874-118, études de femme
Adhémar, Moffett and Berson don’t give a suggestion.
Note: the first edition of the catalogue renders a singular form ‘étude de femme‘ (R411).
Note: Adler suggests that no.118 consisted of 1 work ‘Studies of a woman’ (R89,p95).
In letters of De Nittis dated 1874/04/23 (R411) and 1874/06/10 (R90I,p31) this work / these works seem to have been left out.
Berson leaves out this work, which means there were no reviews (R90II,p11).
Patry/Robbins were so sharp to render the review in Le Phare de la Loire (1874/04/18) in which is mentioned on “M. de Nettis (sic), (…) quelques eaux, exécutées d’une pointe légère et spirituelle (…)” (R410,p275; iR437) Note: eaux is an abbreviation of eaux-fortes, which means etchings. Eng.: M. de Nettis (sic), (…) some etchings, executed with a light and witty touch (…)’. The word ‘quelques’ (some) suggests he showed at least 2 and maybe more etchings rendering women. The fact they were etchings could explain why they were left out in the mentioned letters.
As far as I know Delteil doesn’t mention Giuseppe de Nittis in his volumes on etchers (R138).
On the pages 199 and 200 of his 10th volume on etchers Beraldi mentions 12 ‘pretty’ etchings by Giuseppe de Nittis (R85X,p199+200):
1. Odalisque (?), femme couchée sur un fauteil, profil à droite; in-4 en l.: De Nittis, 73.
2. La danseuse Holoke-Go-Zen, Japon, 1874 (Cadart)
3. Retour d’une promenade, De Nittis pinx et sc., in-8 en l., 1875 (Id.)
4. Derrière l’éventail, 1875 (Id.)
5. Gabrielle, 1876 (Id.)
6. Route de Castellamare, in-8 en l. (Gazette des Beaux-Arts)
7. Étude dans mon jardin: femme en chapeau assise sur un banc, in-4 en l. (Gaz. des Beaux-Arts)
8. Jeune Femme décolletée, les bras posés l’un sur l’autre, in-8 (Id.)
Eng.: her arms resting on each other.
9. Vue de Londres, sous un pont de chemin de fer, in-4 en l. (Id.)
10. Femme vue de dos, décolletée, l’éventail dans la main droite, in-4 (Id.)
11. Jeune femme assise, profil à droite, appuyée sur le coude droit, la main gauche reposant sur la robe. In-4. Eng.: Young woman seated, profile to the right, leaning on her right elbow, left hand resting on her dress.
12. Buste d’italienne tournée à gauche, les épaules enveloppées d’un châle; pointe-sèche in-8 sur un cuivre in-4. (Eng.: shoulders wrapped in a shawl)
When we look at the titles and the dates probably no. 3, 4, 6, and 9 must be excluded.
Note: Beraldi 1 and 2 seem two states of one plate. Morel titles Beraldi 1 also as La danseuse Holoke-Go-Zen, indication this is the 2nd state (R422,fig.4). Invaluable, referring to Fiorani-Dinoia no.12 (1999), notes there were 4 states (iR17), so does the British Museum (M147). The Art Institute renders the first state (M20). The Baltimore MA renders 5 versions, including the Cadart print, the is rendered most often by other sources (M24).
Note that the review of Le Phare de Loire ends with ‘like the Danse du Parasol’. I couldn’t find an etch of De Nittis with such a title or that renders something like an Umbrella dance or sunshade dance. Except Beraldi no.1, that hardly visible seems to depict an umbrella. It also could refer to the title of a dance performed by the dancer Holoke-GO-Zen.
The 2024 exhibition ‘Paris 1874; inventing impressionism’ render two options (R410,p275):
1873, La danseuse Holoke-G0-Zen, eau-forte, pointe sèche, 22×29, NGA Washington (R410,p275;M21); compare Beraldi 2; (R85X,p199).
1873, Jeune femme assise sur un canapé, de profil à droite, eau-forte et pointe sèche, 22×29, Md’Orsay (R410,p110+275;M1); compare Beraldi 1; note the other title (R85X,p199)
I render 4 states of this one plate:
1. 1873, B2, The Dancer Holoke-Go-Zen, etch 1/4, 16×19 (22×29), AI Chicago (M20;M26;iR10;iR11;iR23;R85X,no2;R410,p275;aR17=iR437;R2,p122)
2. 1873, B1, SDbl, Jeune femme assise sur un canapé (femme couchée sur un fauteil, profil à droite), etch 2/4, 22×29, Orsay -> Louvre (HW;iR10;iR127;R85X,no1;R410,p110+275;R2,p122;R422,fig4;M1;M5) former Degas collection
3. 1873, B2, SDbl, La danseuse Holoke-Go-Zen, etch 3?/4, 21×28 (26×31), Baltimore MA (M24;iR10;iR11;iR23;R85X,no2;R410,p275;aR17=iR437;R2,p122)
4. 1873, B2, SDbl, La danseuse Holoke-Go-Zen, Japon, etch 4/4, 25×33, MCh Nemours (iR10;iR11;iR23;R85X,no2;R410,p275;R2,p122).
Note: Dini (1990=R277=DMM) suggests: 18xx, DMM491, Study of a woman, oil painting (R277,no491) of which I could only find a black and white picture and because it isn’t an etch, I will not render it. In an earlier edition of this page, I rendered 3 random oil paintings of women, in retrospect, they were the wrong suggestions.

1IE-1874-118bis, Route en Italie
According to the first edition of the 1874 catalogue, de Nittis asked 1900fr. for this painting (R411).
In his letter of 1874/04/23 he probably called it ‘Étude de la route au soleil’, asking the same amount (R411).
Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27).
Adhémar suggests ‘Route en Italie’ in a private collection (R87,p247). According to Moffett: for no. 117 or 118bis: perhaps Piceni 19, private collection in Milan (R2). Berson makes clear that these suggestions are the same, the Italian name being ‘Strada in Italia’, but she leaves this work unidentified (R90II,p11).
Now: 18xx, PP116 +P19 +DMM347, Strada in Italia, xx, private (R277,no347;R87,p247;R421,no116;R278,no19;R2,p122). I only could find a black and white picture. It depicts a road in the full sun, so in that sense it is a good suggestion.
Anne Robbins refers to a review in ‘Le Phare de la Loire’ (1874/04/18) in which it is suggested that de Nittis had exhibited this work earlier at the Salon: S1872-1177, Route de Naples à Brindisi (Italie) (R410,p108+110+254+271): 1872, DMM344, The road from Brindisi to Barletta (La Route des Pouilles auprès de Brindisi), 27×52, private (Indianapolis MA) (iR6;iR2;iR10;iR1;aR7;R277,no344;R88I,p193;R277,no344;M165) = Venice-1914-6, Road between Barletta and Brindisi; Compare: EU-1878-Italie-56, Route de Brindisi. This work is mentioned by Patry/Robbins as another suggestion.
This drops out the suggestion for DMM347 which I will only render to compare.
The suggestion given by Patry/Robbins isn’t affirmed by Dini (1990;R277) and shows a road under a more cloudy sky, so I will just render it to compare: 1870, DMM281, Along the Ofanto river (Route en Italie), 43×65, PGdN Barletta (iR6;iR2;iR35;R2,p122;R277,no281;R410,p130).
De Nittis depicted many roads in Italy, here are some to compare:
1872ca, Study of the Vesuvius, on panel, 9×18, GAM Milan (iR8;R2,p122;M107);
and: 18xx, Strada di Puglia (Road of Apulia), 24×40, A2018/05/16 (iR11;iR10;R2,p122);
and: 1867 (or 1864), La traversée des Apennins (la traversata degli Appennini), 41×76, MGNC Napels (iR6;iR41;iR70;R2,p122;
=? Venice-1914-19, Across the Apennines (aR5=iR261), the lost work is more finished.

1IE-1874-118bis+hc, Grande étude des Laves noires
In his letter of 1874/04/23 Giuseppe de Nittis renders the title ‘Grande étude des Laves noires‘ (Eng.: large study of black Lava). Probably this large studie depicted black solidified lava after the eruption of the Vesuvius. As it doesn’t correspond any of the other titles, it probably was exhibited outside the catalogue (=hc) (see also R410,p139)
He asked 4900fr for it. (R411)
Dini renders 3 (small) works with the title lava in it:
18xx, DMM338, Lava del Vesuvio (iR10;iRx;R277,no338)
18xx, DMM340, Studio di Lava (R277,no340)
18xx, DMM420, Sbl, La Lava del Vesuvio, 13×18, private (R277,no420;R421,no219)
From the last two I only have a black and white picture which I will not render.
I render also a larger painting depicting black lava: 1872, View of the Gulf of Naples and the island of Capri (The Roughness Vesuvius), 40×77, MC Puglia Barletta (iR10;iR435;iR401;R411).

 

Joseph de Nittis at the Salon:
Joseph de Nittis exhibited yearly at the Salon from 1869-1879 and in 1884 at it’s successor the Salon de la Société des Artistes Français. The Salon database indicates that Joseph de Nittis was born in Barletta (Italy). Still in the catalogue of the Salon of 1869 it is indicated that he was born in Naples. In 1884 he is called Joseph-Gaetan de Nittis. He was a pupil of Gérôme. In 1879+1884 he exhibited hors concours.

 

S1869-1810, Une visite chez l’antiquaire
De Nittis himself described it as ‘I had painted figures in costume, in the school of Meissonier, a genre that I tried, without conviction.’ (aR8,p31). One sources calls it a ‘costume picture’ (aR7,p122).
=1869ca, DMM263, Una visita all’antiquario (Gli intenditori), on panel, 25×20, Philadelphia MA (M28;iR6;R277,no263).

S1869-1811, Une forêt de la Pouille (Italie) .
Eng.: A forest in Apulia. Apulia is a region in the south of Italy, see map.
I couldn’t find a suggestion that comes close.
One source suggests ‘The passing train’ was exhibited, describing that it ‘represented horses scampering away frightened by the passing of a train whose end lanterns are seen disappearing along the track in a wood’ (aR7,p122).

S1870-2101, La femme aux perroquets
Additional info: (Appartient à M. Hoschedé).
=DMM244
Compare: 1869ca, DMM243, Lady with Parrots, 24×23, private (iR2;iR10;iR1;iR6;R277,no243)

S1870-2102, Une réception intime
Eng.: A private reception. I haven’t found a suggestion.

S1870-3861, Arabe; dessin
S1870-3862, Arabe; dessin
De Nittis made at least two pictures each depicting one arab man (or woman).
I render to compare a drawing depicting two arab musicians: 18xx, Musiciens arabes, dr, 23×18, A1996/02/28 (iR13);
and a watercolour depicting an arab woman while walking through a gate: 18xx, Promeneuse sous l’Arcade, wc, 43×36, A1991/04/08 (iR13).

S1872-1177, Route de Naples à Brindisi (Italie)
=1872, DMM344, The road from Brindisi to Barletta, 27×52, Indianapolis MA (iR6;iR2;iR10).
The Art Amateur (1884) called this work ‘The Pouillets road near Brindisi’ (aR7,p122).
= Venice-1914-6, Road between Barletta and Brindisi;
Compare: EU-1878-Italie-56, Route de Brindisi
Compare also a work with the same title: 1872, CR298, La route de (Naples à) Brindisi, on wood, 9×18, A2016/10/18 (iR13;iR11;iR10).

S1873-1114, Les cratères du Vésuve avant l’éruption de 1872
Eng.: The craters of Vesuvius before the eruption of 1872. See number 1115.
As an uncertain option I render: 1872, DMM418, Vesuvius eruption of 1872, 76×128, A2014/12/09 (iR6;iR2;iR11;iR94;iR1;R264,p183/4;R277,no418).
Many other works he made of (the éruption of) the Vesuvius are just small sketches, not likely to have been exhibited at the Salon, though Claretie speaks of a ‘small painting’, see no.1115.

S1873-1115, La descente du Vésuve.
Eng.: Descending Mount Vesuvius.
Claretie called these works ‘anecdotal landscape’. He reviewed ‘It is necessary to see the tourists going up in the steam of the craters, putting the foot on grounds with strange colours: yellow, sulphurous or green. All this must be accurate, studied and painted on the spot. The fat Englishman who descends from Vesuvius in the second painting does not pay attention to the vast horizon that the Gulf of Naples unfolds, in the distance, before him; he is quite wrong. This horizon is superb. M. de Nittis has rendered, with a liveliness of colour quite happy, the reflections of the setting sun on the waves that make the sea incandescent. At the bottom of the horizon, the island of Capri vaguely draws its silhouette, where one seems to always see the shadow of Tiberius. I do not hesitate to place this small painting by M. de Nittis among the most curious and best landscapes of this year’s Salon.’ (R264,p183/4).
Now: 1872ca, DMM366, Descending from the Vesuvius, 30×55, private (aR1;iR1;R264,p183-4;R277,no366).
To compare I mention two works with a similar theme:
1872, Vesuvius eruption of 1872, the rain of ashes, xx, xx (iR6)
and: 1873 (HW), Return from Mount Vesuvius (Ritorno dal Vesuvio), 19×32, A2009/06/09 (iR11).

S1874-1394, Dans les blés
Eng.: In the corn.
Now: 1873, DMM463, In the wheat, on wood, 33×25, private (iR10;iRx;R410,p189;R277,no463).
=Paris-1886-77.
Monneret describes this work as a ‘Very impressionistic composition where wheat and poppies are treated in coloured vibrations.’ This description fits the given suggestion. She (wrongly) claims it was rejected and titles it as ‘Au milieu des épis’ (1873, Ferrari collection Milan; Eng.: In the middle of the ears of corn). (R88I,p193).

S1874-1395, “Fait-il froid ! ! !”
Now: 1874ca, DMM484, Che Freddo! (Freezing!), 54×73, AAC Milan (private) (iR2;iR6;iR35;iR1;R264,p256;R277,no484;R88I,p193;R410,p152).
Claretie reviewed ‘adorable cold blooded running, the nose in their furs, at the edge of the Lake’ (R264,p256).
Note: Monneret (wrongly) suggests this was the only work exhibited and two other works were rejected (R88I,p193).

S1874-R
One work of De Nittis was rejected for the Salon of 1874.
Now: 1874, Avenue du Bois de Boulogne, 33×25, A2008/11/12  (iR2;iR14;iR6;iR35;iR11;R231;R410,p271).
Maybe this work was exhibited as: EU-1878-Italie-64, Avenue du bois de Boulogne.
Compare: GP-1885-EdP1-195, L’Avenue du Bois de Boulogne; appartient à M. Alexandre Dumas.
Note: Monneret (wrongly) claims two works were rejected. She titles this work as ‘En conduisant au bois‘ (Eng.: When leading to the wood)

S1875-1544, Place de la Concorde.
Claretie reviewed ‘M. de Nittis did even better with the Place de la Concorde. It is a jewel that this view of a corner of the immense square, a winter day, of frost, I was going to say of ice. The characters are sketched and painted here with infinite suppleness and a fine, elegant and colourful touch. One would think that this painting is going to come to life so much the figures are alive. The fat lady with the fur-lined coat, who advances with precaution, the pretty young woman in a gray dress who moves away on the arm of her husband dressed in the ulster formerly in fashion, the child’s maid who crosses the square, are all excellent figures. The colorist of race is recognized with the lively touches which animate this painting of a silver tint, with the yellow awakenings of the omnibus cars or fabrics. A small marvel of execution is the water falling and bouncing in the shiny basin of the fountain. The bronze tritons are really wet by the incessant spurting of the jets. M. de Nittis has never done better and, whatever the skill of those who, like M. Tissot in London, try to follow in his footsteps, it is no less true that the author of this Place de la Concorde will have found, the first, in today’s painting, a personal style, a new corner, an accent of elegant moderation that one had not had, before him, in such a degree.’ (R264,p328/9).
=DMM538 (R277,no538)
To compare I render an etch depicting the same scene: 1875, Place de la Concorde on a rainy day, etch, 21×30, Carnavalet (iR195;R264,p328;iR1;iR10).
Compare also prepatory studies: 1875ca, Sbr, Parisiennes sur la place de la Concorde, op, 25×19, MC Paris (iR6;iR195;M8); 1875ca, Études de femme (esquisse préparatoire pour les Parisiennes sur la place de la Concorde), op, 18×13, A2015/06/03 (iR11;iR10)
To compare I also render a painting made a bit later: 1880, SDbr, (A corner of the) Place de la Concorde, 44×52, PZS Naples (iR10;iR167;iR94;iR6).

S1875-1545, A Bougival (Seine-et-Oise) .
Bougival lies 20km west of Paris, see map.
Claretie reviewed ‘Is it possible to put more grace than in the painting entitled Bougival? A young blonde woman, seductive, lets her boat go with the current of the water, under the large shady trees of the bank, while she protects herself from the sun with a parasol on which the rays strike. It took all the skill of M. de Nittis’ brush to render the transparency of the white dress through which, under the young woman’s left arm, the sun appears bright and as if playing. The gloomy depth of the water that renders the reflection of the green leaves, the infinity of the horizon of this bank of Bougival of which one sees the hillsides and the villas, everything here is rendered with an absolutely individual skill and a charming and spiritual poetry. It is really the work of a painter. This landscape of Seine-et-Oise is worthy of framing the smiling Parisian woman who sits in the boat and goes away dreaming.’ (R264,p327/8).
The next work fits the decription of Claretie, but it is dated one year later: 1876, SDbl, In canotto (in a canoe), 54×73, Axx (iR10;iR13;R264,p327). Maybe he reworked the painting and than dated it or this is a copy of the one he exhibited at the Salon. Compare: Venice-1914-35, Nel canotto.

S1876-1543, Sur la route de Castellamare
Additional info: (Appartient à M. Botkine). Eng.: On the road to Castellamare. Google maps gives several options for Castellamare.
In the Gazette des Beaux Arts there was an etch rendered after this painting: 1876ca, Route de Castellammare, etch in Gazette des Beaux Arts 1876, 10×13, PP Paris (iR195;iR10;iR13).
Probably DMM608 = Venice-1914-28, Sulla strada di Castellamare (Sig. Robhine di Mosca, Moscow).

S1876-1544, Place des Pyramides .
Now: 1875-76, CR611, Place des Pyramides, 92×75, Orsay (iR2;iR36;iR6;iR10). =!? EU-1878-Italie-55, Place des Pyramides. De Nittis bought it back from Goupil in 1883 and gave it to the state (R88I,p193).

S1877-1598, Paris, vu du Pont-Royal.
Additional info: (Voir Dessins). See link for the location of the Pont-Royal in Paris (iR9).
=!? EU-1878-Italie-65, Paris vu du pont Royal. See comment over there.

S1877-3210, Le boulevard Haussmann; aquarelle
Additional info: (Voir Peinture). See link for the location of the Boulevard Haussmann in Paris (iR9).
=DMM649 (R277,no649)
Probably: 18xx, Boulevard Haussmann, wc, 31×41, A2009/11/25 (iR13;iR10).

S1877-3211, La place Saint-Augustin; aquarelle
See link for the location of the Place Saint-Augustin in Paris (iR9) and more info and pictures (iR4). I couldn’t find a suggestion.

Note: in the first booklet of the Salon of 1876 or 1877 there was a title of a painting attributed to De Nittis that didn’t exist; later on it was corrected (aR8,p172/3).

S1878-1679, Coin de boulevard
Additional info: (Voir Dessins). Eng.: Corner of a boulevard.
As a very uncertain option I render: 1880ca, Le Parfumier, 41×33, Carnavalet (iR195;iR2), the location in this work lies on the corner of two roads / boulevards.

S1878-3549, Au bois de Boulogne; pastel
Compare: EU-1878-Italie-64, Avenue du bois de Boulogne.

S1878-3550, Arc de triomphe; aquarelle
Additional info: (Voir Peinture).
Maybe: 1876ca, DMM610, Arc de Triomph, wc gouache, 37×53, A2019/12/12 (iR15;iR195;iR1;R277,no610)
=!? EU-1900, L’Arc de Triomphe (iR6;M8)

S1879-2248, Une marchande d’allumettes dans la City (Londres)
Eng.: A match seller in the City (London).
Compare an etch made after this painting: 1877, Une marchande d’allumettes à Londres, etch in Gazette des Beaux-Arts 1884, xx, PP Paris (iR195).

SdAF-1884-1807, Le déjeuner
=1883-84ca, DMM937, Breakfast in the Garden (Colarione in giardino), 81×117, GGdN Barletta (iR6;iR2;iR35;R3,p540;aR15;R277,no937); this suggestion is affirmed by Gianni Laterza (aR15).
=Paris-1886-21
=Venice-1914-3, Breakfast in the garden
Compare: 1879ca, Lunch in Posillipo (Naples), 109×173, GAM Milan (iR6;iR8).

SdAF-1884-1808, La gardeuse d’oies
Eng.: The goose keeper.
1884, SDbr, DMM990, The geese shepherd, 81×65, PP Paris (iR195;iR1;iR6;R277,no990;M4)
=Venice-1914-27, The Keeper of the Geese (aR5=iR261)

SdAF-1884-3052, Fleurs d’automne; pastel
=DMM960 (R277,no960).
=!? Venice1914-11. Fiori d’autunno, pastel.
Compare: Feuilles d’Automne, colour print after de Nittis, 66×46, Carnavalet (iR195;iR6;M8).
Compare also another pastel with a bit the same theme: 1882, The lady with the ulster, xx, private (iR6;iR10;iR48).

 

Joseph de Nittis at the Exposition Universelle:
12 Works of Giuseppe de Nittis were exhibited at the Italien section of the Exposition Universelle of 1878. These included DMM345 +541 +611 +641 +717 +722 +725 (R277). He received a 1st class medal and later was appointed as Chevalier in the Legion d’Honneur.
De Nittis was posthumously included in the Exposition de la Ville de Paris alongside the Exposition Universelle in 1900. (iR195;M8).

EU1878:

EU-1878-Italie-54, Green park (Londres).
I don’t have a suggestion.

EU-1878-Italie-55, Place des Pyramides.
=1875, DMM611, Place des Pyramides, 92×75, Orsay (iR2;iR36;iR6;iR1;R231;R277,no611;M1)
=S1876-1544, Place des Pyramides
=Venice-1914-21, The Place des Pyramides in Paris =!? MdL-1912-664 (aR5=iR261)

EU-1878-Italie-56, Route de Brindisi.
=18xx, DMM345, La strada da Brindisi a Barletta (R277,no345)
Compare: S1872-1177, Route de Naples à Brindisi (Italie) =1872, CR344, The road from Brindisi to Barletta, 27×52, Indianapolis MA (iR6;iR2;iR10;iR1;R277,no344;M165).

EU-1878-Italie-57, National Gallery.
=1877-78ca, DMM641, The National Gallery and the church of Saint-Martin in London, 71×106, PP Paris (iR195;iR127;R231;R277,no641;M4)
=Venice-1914-20, The National Gallery in London (aR5=iR261).

EU-1878-Italie-58, Westminster.
Giuseppe de Nittis made several pictures of Westminster.
=1878, DMM717, Westminster, 110×192, private (iR2;iR6;iR10;R231;R277,no717)
This work is larger and more finished than other paintings De Nittis made of the Westminster (R88I,p193).
Compare: A. Brun: drawing after a study by Joseph de Nittis for his picture in the Paris exposition of 1878, Art Amateur of 1884 (aR7,p122;iR19;R231).
This drawing after ‘a study by Joseph de Nittis for his picture in the Paris exposition of 1878 ‘ rendered in the Art Amateur of 1884, also suggests this work or one similar depicting pipe smoking men (aR7,p122). The Art Amateur also described ‘his Westminister Bridge in a fog’ (aR7,p122).

EU-1878-Italie-59, Trafalgar square.
I render two options:
=? 1878ca, CR726, Trafalgar Square, 103×90, private (iR376;iR10;iR167;R231);
and: =?? 1878ca, (View on) Trafalgar Square, 41×49, MPP Paris (iR10;iR167;iR2;R8,p245;R231;M4).
The first one is larger and more finished, so I think that one is a better option.

EU-1878-Italie-60, Retour des courses du bois de Boulogne.
Probably: 1878, DMM722, La signora col cane (Lady walking with her dog; return from the Races), 150×90, GAM Trieste (M260;iR6;R277,no722;M261) =!? Venice-1914-22, La signora del cane.

EU-1878-Italie-61, Bank of England
I don’t have a suggestion.

EU-1878-Italie-62, Canon Bridge
The Canon bridge lies in London. I don’t have a suggestion.

EU-1878-Italie-63, Piccadilly
=1875, SDbl, DMM541, Piccadilly Road (Winter day in London), 84×120 (69×104), private (iR2;iR6;iR167;iR10;iR434;R231;R277,no541)
=Paris-CUA-1876
=London-1879-4.
Earlier exhibited in 1876 at the ‘Cercle de L’union artistique’ and sold by Goupil for 54.000 francs (R88I,p193) and later (before 1884) resold for 60.000 francs (aR7,p122).

EU-1878-Italie-64, Avenue du bois de Boulogne
=? 1874, SDbl, Avenue de Bois du Boulogne, 32×42, A2008/11/12 (iR2;iR14;iR6;iR35;iR11;R231;R410,p151). This work was refused for the Salon of 1874. Compare: GP-1885-EdP1-195, L’Avenue du Bois de Boulogne (pastel); appartient à M. Alexandre Dumas.

EU-1878-Italie-65, Paris vu du pont Royal
=!? S1877-1598, Paris, vu du Pont-Royal.
Getty images suggests an etch (made after the painting exhibited): 1877ca, Le Pont Neuf, etch  (iR10;iR139). The picture depicts a view on the former Pont du Caroussel, also named Pont du Saint-Pièrre, with the typical circles in the construction. (iR4) When it was viewed from the Pont Neuf as the title suggests, then one would see first the Pont des Arts and behind it the Pont du Caroussel. So, it is more likely that the Pond du Caroussel was viewed from the Quai Voltaire and the start of the Pont Royal (iR9). In that case, it could be a solid suggestion, but than the title is not correct.

 

EU1900-Exposition de la Ville de Paris:
Musée Carnavalet in Paris shows 6 photos made after art-works of Nittis posthumously exhibited at the Exposition Universelle in 1900 at the Exposition de la Ville de Paris (iR195;M8).

EU-1900, Les premiers bourgeons, photo André Brichaut (iR195;M8)
I render a compilation with this photo and a pastel that has similarities: 1876ca, Sbr, Along the Seine, pastel, 52×72, private (iR2).

EU-1900, Défilé des voitures avenue du Bois de Boulogne, 11×16, MC Paris (iR6;iR195;M8)
I render a compilation with this photo and a painting that has similarities: 1874, SDbr, Paisaje (Avenue du Bois de Boulogne), 19×31, MNBA Buenos Aires (iR6;M114)

EU-1900, La place de la Concorde, 9×13, MC Paris (iR6;iR195;M8)
I render a compilation with this photo and a pastel that has similarities: 1878-79ca, The Arc the Triumphe from the Avenue Foch (=Bois de Boulogne), pastel, 54×73, A2016/03/31 (iR2;iR15;iR14)

EU-1900, L’Arc de Triomphe, 11×16, MC Paris (iR6;iR195;M8)
=!? 1876ca, DMM610, wc+g, 37×53, A2019/12/12 (iR6;iR15;iR195;R277,no610)

EU-1900, Patinage au bois de Boulogne, photo André Brichaut,  12×16, MC Paris (iR6;iR195;M8)
=!? 1880ca, DMM199?, Skating (winter snow scenery), 54x74cm?, PGdN Barletta (iR10;iR114;iR195;R277,no199?;M262)

EU-1900, Place des Pyramides, photo André Brichaut, 11×15, MC Paris (iR6;iR195;M8)
=!? 1876, DMM612, Place des Pyramides II, xx, xx (iR6;R277,no612) =P1886-30

 

 

1880, solo exposition of Giuseppe de Nittis:
In 1880 there was an exhibition of the collected works of Giuseppe de Nittis at the Avenue de l’Opéra, exhibiting about 30 works, including watercolours, gouaches, fans and pastels (aR9,p189) (=Avl’Opéra-1880).

A London Sunday
Probably: 1878, SDbl, DMM723, La domenica a Londra (A London sunday), 116×80, PdB Milan (private) (iR2;iR6;aR9,p189;R277,no723).

A Sunday in Paris
In the foreground a group of pretty girls sitting under the trees; the Arc de Triomphe in the background; the Champs Elysées on a sunny autumnal afternoon; the road croaded with vehicles and promenaders.

Bird-Charmer of the Tuileries
In the foreground an elderly gentleman feeding sparrows; the garden aglow with flowers an a summer day

A skating-lesson in the Bois de Boulogne
Probably: 1875ca, DMM535, The skating lesson, 54×73, private (iR6;iR10;iR167;aR9,p189;R277,no535)

A Lady at Hampton Court
In the foreground a fair young English lady seated on a bank; a view of the Thames with a pair of ducks.

A winter view of the Avenue des Acacias of the Bois de Boulogne, watercolour

Fan
A heavy storm-tossed ocean; golden rays of the moon; black clouds; fragment of a wreck.
Compare: 1880-83, Capricious nocturne (nocturnal marine), fan, 17×53, PGdN Barletta (iR10;iR435;iR7;iR434;aR22;M262)

 

Joseph de Nittis at Georges Petit:
April 1882 Giuseppe de Nittis founded with the art-dealer Georges Petit the ‘Exposition Internationale de Peinture (et Sculpture)‘.
In 1883, at the 2nd exposition, De Nittis exhibited 12 works in the Italien section.
Note: it is strange he didn’t exhibit at the first exposition.
In 1885 posthumously pastels of him were shown at two ‘expositions de pastels’ at Georges Petit.
In 1886 works were exhibited in Paris, maybe at the 5th exposition internationale de peinture et de sculpture in June and July.

1883, 2nd exposition International (iR40)
Catalogue page 16+17: Italie, De Nittis, Paris, 3bis, rue Viette.

GP-2EIP-1883-1, Une Parisienne (Pastel)
Compare: 1883ca, La Parisienne, dr, 14×10, MdVH Paris (iR195;iR15;iR40)

GP-2EIP-1883-2, La femme au manteau de fourrure (pastel)
Compare: 1883-84ca, DMM797, Large portrait of a lady with fur, 102×52, A2024/04/17 (iR14;iR11;R278,p148;R277,no797;iR40)

GP-2EIP-1883-3, Fleurs.

GP-2EIP-1883-4, Pivoines.

GP-2EIP-1883-5, Plaines de Touraine.

GP-2EIP-1883-6, Charmilles.

GP-2EIP-1883-7, Cathédrale de Tours.

GP-2EIP-1883-8, Un thé.

GP-2EIP-1883-9, Vue du Pont-Royale (Crépuscule).

GP-2EIP-1883-10, Ruines des Tuileries
=? 1882, DMM887, The Place de Carousel and the Ruins of the Tuileries Palace, on wood, 45×60, Louvre (iR2;iR6;iR35;iR40;aR5=iR261;aR8,p228;R277,no887;M1;M5)
Also exhibited in 1883 as no.563 at the Exposition Nationale des Beaux-Arts at the Champs Elysées and afterwards acquired by the State for 12.000fr for the Musée du Luxembourg (M1;iR357=M5).

GP-2EIP-1883-11, Une journée de novembre à Londres.

GP-2EIP-1883-12, Femme blonde.

 

1885, Georges Petit, exposition des Pastellistes 1 (iR40)
De Nittis (J.), catalogue pages 72-75. Note: this was a posthumous exposition.

GP-1885-1EdP-187, Portrait de Mme C.; appartient à Mme Camus

GP-1885-1EdP-188, Les premiers Bourgeons aux Tuileries; appartient à M.C.G.

GP-1885-1EdP-189, Bouquet de roses; appartient à M. C. G.

GP-1885-1EdP-190, Bouquet de Fleurs; appartient à Mme J. Claretie

GP-1885-1EdP-191, Le Tour du lac; appartient à M. de Cavaglion

GP-1885-1EdP-192, L’Ulster; appartient à M. de Cavaglion
Compare: 1880-82ca, DMM855, The lady with the ulster, xx, PR Milan (private) (iR6;iR10;iR48;iR1;iR40;R277,no855;M260).
Compare: SdAF-1884-3052, Fleurs d’automne; pastel

GP-1885-1EdP-193, Femme en costume noir; appartient à M. Alexandre Dumas
Compare: 1878ca, La dame en noir (HW: study), 35×25, A2016/10/18 (iR11;iR40).

GP-1885-1EdP-194, Bouquet de fleurs; appartient à M. Alexandre Dumas

GP-1885-1EdP-195, L’Avenue du Bois de Boulogne; appartient à M. Alexandre Dumas
compare an oil painting: 1874, SDbl, Avenue de Bois du Boulogne, 32×42, A2008/11/12 (iR2;iR14;iR6;iR35;iR11;R231;R410,p151). This work was refused for the Salon of 1874. =? EU-1878-Italie-64, Avenue du bois de Boulogne.

GP-1885-1EdP-196, Tribunes de Longchamps; appartient à Mme de Nittis
=? 1881-84ca, The Bois de Boulogne races, In the grandstand (nella tribuna), 107×55?, GAM Rome (iR6;iR8;R16,p248;iR40)

 

1885, Georges Petit, exposition des Pastellistes 2 (iR40)
De Nittis (J.), catalogue pages 76-78. Note: this was a posthumous exposition.

GP-1885-EdP2-197, Tribunes d’Auteuil; appartient à Mme de Nittis
=? 1881-84ca, The Bois de Boulogne races, In the grandstand (nella tribuna), 107×55?, GAM Rome (iR6;iR8;R16,p248;iR40)
Compare the etch made after this pastel, now in Musée Carnavelet (iR195;M8).

GP-1885-EdP2-198, Autour du brasero; appartient à Mme de Nittis

GP-1885-EdP2-199, Femme en noir assise; appartient à Mme de Nittis

GP-1885-EdP2-200, Derrière la jalousie; appartient à Mme de Nittis

GP-1885-EdP2-201, Femme appuyée sur une chaise; appartient à M. Houseal
Eng.: Woman leaning on a chair.

GP-1885-EdP2-202, Le Printemps

GP-1885-EdP2-203, La place de la Concorde; appartient à Mme de Nittis
On the Place de la Concorde one can also view the Egyptian Obelisque.
Compare this painting: 1880, SDbr, (A corner of the) Place de la Concorde, 44×52, PZS Naples (iR10;iR167;iR94;iR6;iR1) Compare: S1875-1544, Place de la Concorde + EU-1900-?, Place de la Concorde par un jour de pluie (iR195).

 

Giuseppe de Nittis at other exhibitions in Paris:

Paris, CdM, 1875:
1875, DMM574, SDbl, L’Arc de Triomphe (a ride along the avenue de Champs-Elysées), 53×41, A2017/06/06 (iR11;iR14;iR2;iR41;iR6;R277,no574) =London-1879-1; Compare: S1878-3550, Arc de triomphe; aquarelle.
Paris, CUA, 1876:
In 1876 De Nittis exhibited at the ‘Cercle de l’Union artistique‘.
=1875, SDbl, DMM541, Piccadilly Road (Winter day in London), 84×120 (69×104), private (iR2;iR6;iR167;iR10;iR434;R231;R277,no541) =EU-1878-Italie-63, Piccadilly; =London-1879-4.
Paris, LVM, 1879:
In 1879* Giuseppe de Nittis had a succesfull exhibition at the offices of ‘La Vie Moderne‘. It was organised by Edmond Renoir and was attended by an average of 2500 people daily; almost all the works were sold.
Paris, 1881:
In 1881 De Nittis exhibited again at the ‘Cercle de l’Union artistique‘ (=CUA):
=1881, DMM842, Portrait of Edmond de Goncourt, pastel, 87×115, archive Nancy (R422,p75;iR2;aR12)
=1881-84ca, DMM862-864, The Bois de Boulogne races (Triptych), pastel, 107×220(?), GNMA Rome (iR6;iR8;aR5=iR261;R277,no862-864;M265) =London-1884-24+59+26; Paris-1886-105-107; =Venice-1914-5, Le corse ad Auteuil (trittico)
Paris, BJ-1886:
In 1886 works of De Nittis were exhibited in a retrospective organised by Bernheim-Jeune in Paris (R422,p171).
At least the folowing works were exhibited: DMM,no463+558+599+612+729+730+852+862+863+864+937 (R277).
But as the catalogue numbers reached till at least 77, probably much more were exhibited.
Paris-BJ1886-7 =1875, SDbr, DMM599, Forum in Pompeii, 80×56, IM Viareggio (iR6;R277,no599;M148)
Paris-BJ1886-18 =1869, DMM730, The passing train, 75×130, PGdN Barletta (R89,p98;aR5=iR261;aR13;R88I,p192;aR7,p122;R277,no730)
=Turin-1880-274; =Venice-1914-2, Il treno che passa.
Paris-BJ1886-21 =1883-84ca, DMM937, Breakfast in the Garden (Colazione in giardino), 81×117, PGdN Barletta (iR6;iR2;iR35;iR1;R3,p540;R277,no937;M262) =SdAF-1884-1807, Le déjeuner; =Venice-1914-3, Breakfast in the garden
Paris-BJ1886-30 =1876, DMM612, Place des Pyramides II, xx, xx (iR6;R277,no612) =!? EU-1900, Place des Pyramides (iR6;M8)
Paris-BJ1886-77  =1873, DMM463, In the wheat, on wood, 33×25, private (iR10;iRx;iR1;R277,no463;R410,p189;R88I,p193) =S1874-1394, Dans les blés;
Paris-BJ1886-? =1879ca, DMM729, Lunch in Posillipo (Naples), 110×173, GAM Milan (iR6;iR8;iR1;R277,no729;M107) =Turin-1880-274; =Venice-1914-12, Lunch at Posillipo.
Paris-BJ1886-? =1880ca, DMM852, Place des Invalides, xx, PR Milan (iR10;iRx;iR6;R277,no852;M260)
Paris-BJ1886-105-107? =1881-84ca, DMM862-864, The Bois de Boulogne races (Triptych), pastel, 107×220(?), GNMA Rome (iR6;iR8;aR5=iR261;R277,no862-864;M265) =Paris-CUA-1881; =London-1884-24+59+26; =Venice-1914-5, Le corse ad Auteuil (trittico); =? GP-1885-EdP2-197.
Paris, Hôtel Drouot, 1889:
In 1889 a work of De Nittis was auctioned at Hôtel Drouot:
=DMM253 (R277,no253).

 

Giuseppe de Nittis at exhibitions in Italy and other countries:
Around 1863-64 Giuseppe de Nittis exhibited 2 paintings and some studies at the 3rd exposition de la société promotrice at Naples and a marine at an exhibition in Parlermo (aR8,p28+29). In 1866 +1867 he also exhibited in Naples (R277,p96+169). One of the studies exhibited in Naples was bought by the museum of modern painting (aR7).
In 1880 he also exhibited in Turin 5 paintings (aR13;R277,no730+737+750).
Dini (1990=R277=DMM) indicates that Giuseppe de Nittis exhibited the following works in Italy:
Napoli, 1866:
Napoli-1866-65
=DMM96 =1866, DMM96, Landscape near Naples, 43×76, MRB Capodimonte (iR8;aR1;aR15;iR10;R277,no96)
Napoli 1867:
Napoli-1867-50
=1867, DMM169, Crossing the Apennines, memories (La traversata degli Appennini), 45×77, MGNC Napels (iR6;iR41;iR70;aR5=iR261;R2,p122;R88I,p192;R277,no169) =Venice-1914-19, Across the Apennines (aR5=iR261);
Turin, 1880:
Turin-1880-274 =DMM730 = 1869, DMM730, The passing train, 75×130, PGdN Barletta (R89,p98;aR5=iR261;aR13;R88I,p192;aR7,p122;R277,no730) =Paris-BJ1886-18; =Venice-1914-2, Il treno che passa.
Turin-1880-275 =1875ca, DMM750, In the fields around London, 45×55, private (iR35;iR2;iR10;iR1;aR15;R277,no750) =Venice-1914-29, In the fields. Surroundings of London (aR5=iR261).
DMM737

Giuseppe de Nittis at exhibitions in London and other countries:
In 1879 (and 1884) he also exhibited in London (R277,no541+574+862-4).
London 1879:
London-1879-4.
=1875, SDbl, DMM541, Piccadilly Road (Winter day in London), 84×120 (69×104), private (iR2;iR6;iR167;iR10;iR434;R231;R277,no541) =Paris-CUA-1876 ; =EU-1878-Italie-63, Piccadilly.
London 1884:
London-1884-24+59+26;
=1881-84ca, DMM862-864, The Bois de Boulogne races (Triptych), pastel, 107×220(?), GNMA Rome (iR6;iR8;aR5=iR261;R277,no862-864;M265) =Paris-CUA-1881; Paris-1886-105-107; =Venice-1914-5, Le corse ad Auteuil (trittico); =? GP-1885-EdP2-197.
Monaco, 1888:
=1883, DMM925, The Races at Longchamps from the Grandstand, 99×122, private (iR2;aR5=iR261;R277,no925); =Venice-1914-18, Le corse di Longchamps.

 

1900, Exposition Universelle:
See above.

 

1912, Musée du Luxembourg:
Sommaire des Peintures et Sculptures de l’École Contemporaine exposées dans les Galeries du Musée National du Luxembourg (aR5=iR261). At this exhibition there were posthumously two works exhibited of Giuseppe de Nittis.

MdL-1912-664, La place des Pyramides
Additional info: painting, 96 x 70 cm  “Don de l’auteur”,
Probably: 1875, SDbl, DMM611, Place des Pyramides, 92×75, Orsay (iR2;iR36;iR6;iR1;R231;R277,no611;R89,no82;M1) =S1876-1544 (-> 1st class medal); =EU1878-Italie-55 (-> 1st class medal + Chevalier LdH); =Venice-1914-21, The Place des Pyramides in Paris

MdL-1912-665, La place du Carrousel
Additional info: painting, 47 x 62 cm.
Probably: 1882, The Place de Carousel and the Ruins of the Tuileries Palace, 45×60, Louvre (iR2;iR6;iR35).

 

Giuseppe de Nittis at the 9th Art exhibition in Venice in 1914:
In 1914 at the 9th Art exhibition in Venice, there were posthumously 90! art-works exhibited of De Nittis (aR5=iR261): XI. Esposizione d’Arte della Città di Venezia, in room 37-38; 86 catalogue numbers, of which no.71+72 contained 3 works.

Venice-1914-1. Ritratto della signora Leontina de Nittis, pastel  (Città di Barletta)
=? 1882, SDbl, DMM877, Winter day (Portrait of Léontine; Giornata d’inverno), pastel, 150×89, PGdN Barletta (iR2;iR10;iR6;iR167;R277,no877;aR5=iR261;aR13;M262)

Venice-1914-2. Il treno che passa (Città di Barletta)
=!? 1869, The passing train, 75×130, PGdN Barletta (R89,p98;aR5=iR261;aR13)
=Turin-1880-274; =Paris-BJ1886-18;

Venice-1914-3. Colazione in giardino (Città di Barletta)
=1883-84ca, DMM937, Breakfast in the Garden (Colarione in giardino), 81×117, GGdN Barletta (iR6;iR2;iR35;iR1;R3,p540;aR13;R277,no937)
=SdAF-1884-1807, Le déjeuner
=Paris-1886-21

Venice-1914-4. Salotto della Principessa Matilde Bonaparte (Città di Barletta)
=1883, SDbl, DMM942, The living room of Princess Mathilde (Bonaparte), 73×91, PGdN Barletta (iR2;iR6;aR5=iR261;aR13;R277,no942;R422,c84;M262)

Venice-1914-5. Le corse ad Auteuil (trittico), pastel  (Galleria Nazionale d’Arte Moderna di Roma, Rome)
=1881-84ca, DMM862-864, The Bois de Boulogne races (Triptych), pastel, 107×220(?), GNMA Rome (iR6;iR8;aR5=iR261)
=Paris-CWA-1881
=London-1884-24+59+26
=Paris-1886-105+106+107

Venice-1914-6. Strada fra Barletta e Brindisi (Sig. A. A. Anderson di New York)
=1872, DMM344, The road from Brindisi to Barletta, 27×52, Indianapolis MA (iR6;iR2;iR10;iR1;R277,no344;M165)
=S1872-1177, Route de Naples à Brindisi (Italie); =? 1IE-1874-118bis, Route en Italie

Venice-1914-7. Sulle rive dell’Ofanto (R. Galleria dell’Accademia di Firenze, Florence)
=1867ca, DMM171, Along the Ofanto river, xx, PMCG Bari (iR8;iR6;R277,no171;aR5=iR261).

Venice-1914-8. Accanto al Tamigi (signora Amelia Gerli di Londra, London)
Eng.: Beside the Thames.

Venice-1914-9. Vecchio giardino (sig. H. Vever di Parigi, Paris)
Eng.: Old Garden
=DMM935 (R277,no935)

Venice-1914-10. Viale dei carpini (sig. H. Vever di Parigi, Paris)
Eng.: Hornbeam Avenue
=DMM807 (R277,no807)

Venice-1914-11. Fiori d’autunno, pastel
Eng.: Autumn flowers, pastel.
=!? DMM960 (R277,no960).
=SdAF-1884-3052, Fleurs d’automne; pastel.
Compare: 18xx, Feuilles d’Automne, colour print after de Nittis (detail), 66×46, Carnavalet Paris (iR195;iR1;M8).

Venice-1914-12. Pranzo a Posillipo (Signora Lapauze di Parigi, Paris)
=1879ca, DMM729, Lunch in Posillipo (Naples), 109×173, GAM Milan (iR6;iR8;iR1;R277,no729;M107)
=Turin-1880-274.
=Paris-1886-18
Compare: SdAF-1884-1807, Le déjeuner

Venice-1914-13. Ora tranquilla
Eng.: Quiet hour
=DMM511 (R277,no511)

Venice-1914-14. Sul lago dei Quattro Cantoni (Ugo Ojetti)
Eng.: On Lake Lucerne
=DMM869 (R277,no869)

Venice-1914-15. Nell’amaca (Ugo Ojetti)
=DMM998 (R277,no998)
Giuseppe de Nittis made in 1884 several pictures depicting his wife Léotine in a Hammock.
=?? 1884, In the Hammock, xx, private (iR2;aR5=iR261)

Venice-1914-16. In un palco dell “Opéra” a Parigi, pastel
Eng.: In a box at the “Opéra” in Paris, pastel
=DMM849 (R277,no849)

Venice-1914-17. Gaby
=DMM776 (R277,no776)

Venice-1914-18. Le corse di Longchamps (G. Bernheim di Parigi, Paris)
=1883, DMM925, The Races at Longchamps from the Grandstand, 99×122, private (iR2;aR5=iR261;R277,no925)
=Monaco-1888

Venice-1914-19. Attraverso gli Appennini (S. M. il Re d’Italia)
=1867, DMM169, Crossing the Apennines, memories (La traversata degli Appennini), 45×77, MGNC Napels (iR6;iR41;iR70;aR5=iR261;R2,p122;R88I,p192;R277,no169)
=Naples-1867-50;

Venice-1914-20. La “National Gallery” a Londra (François Flemeng di Parigi, Paris)
=1878ca, DMM641, The National Gallery and the church of Saint-Martin in London, 71×106, PP Paris (iR195;iR127;R231;R277,no641;M4)
=EU-1878-Italie-57, National Gallery

Venice-1914-21. La piazza delle Piramidi a Parigi (Museo del Lussemburgo di Parigi, Paris)
= 1875, DMM611, Place des Pyramides, 92×75, Orsay (iR2;iR36;iR6;iR1;R231;R277,no611;M1)
=S1876-1544 (-> 1st class medal) =EU1878-Italie-55 (-> 1st class medal + Chevalier LdH) =!? MdL-1912-664 (aR5=iR261)

Venice-1914-22, La signora del cane
Eng.: The Dog Lady.
=1878, DMM722, La signora col cane (Lady walking with her dog; return from the Races), 150×90, GAM Trieste (M260;iR6;R277,no722;M261)
=EU-1878-Italie-60, Retour des courses du bois de Boulogne.
=Venice-1901-Z-37.

Venice-1914-23. Il “bow window”, pastel
Eng.: The bow window, pastel
=DMM850 (R277,no850)

Venice-1914-24. Ritratto del giornalista Martino Cafiero (Barone Carlo Chirandà di Napoli, Naples)
Eng.: Portrait of journalist Martino Cafiero
=DMM328 (R277,no328)

Venice-1914-25. Ritratto dello scultore Adriano Cecioni (Dott. Salvatore Monzelles)
Eng.: Portrait of sculptor Adriano Cecioni
=DMM160 (R277,no160)

Venice-1914-26. Il pasto delle anitre
Eng.: The meal of the ducks
=DMM510 (R277,no510)

Venice-1914-27. La guardiana delle oche (Museo del “Petit Palais” di Parigi, Paris)
=1884, DMM990, SDbr, The geese shepherd, 81×65, PP Paris (iR195;iR1;R277,no990;M4)
= SdAF-1884-1808, La gardeuse d’oies.

Venice-1914-28. Sulla strada di Castellamare (Sig. Robhine di Mosca, Moscow)
Eng.: On the Road to Castellamare.
=DMM608 (R277,no608)
=S1876-1543, Sur la route de Castellamare
Compare: 1876ca, Route de Castellammare, etch after painting in Gazette des Beaux-Arts 1876, 10×13, PP Paris (iR195;iR10;iR13;iR1;M4)

Venice-1914-29. Nei campi. Dintorni di Londra (Signora Isabella Gerli di Milano, Milan)
=DMM750 (R277,no750)
=Turin-1880-275
=1875ca, DMM750, In the fields around London, 45×55, private (iR35;iR2;iR10;iR1;aR15;R277,no750)

Venice-1914-30. Testa femminile
Eng.: Female head

Venice-1914-31. Donna appoggiata alla sedia
Eng.: Woman leaning on chair.
=?? 1879ca (or 1872), DMM733, Signora Napoletana (Neapolitan Lady), 95×75, A2015/06/15 (iR2;iR6;iR11;iR35;iR41;aR5=iR261;R277,no733)

Venice-1914-32. Al rezzo
Eng.: At the rezzo
=DMM288 (R277,no288)

Venice-1914-33. Popolana napoletana
Eng.: Neapolitan commoner
=DMM734 (R277,no734)

Venice-1914-34. Nebbia a Londra
=?? 18xx, Foggy day in London, 34×27, A2013/04/29 (iR11;iR15;aR5=iR261)

Venice-1914-35, Nel canotto
Eng.: In the dinghy / canoe.
=DMM502 =1874-75, DMM502, Léontine in canotto (in a rowboat), 24×54, private (iR6;iR10;aR5=iR261;aR1;R277,no502)
Compare: 1876, In canotto (in a canoe), 54×73, Axx (iR10;iR13;iR1;R264,p327/8) =!? S1875-1545, À Bougival.

Venice-1914-36. Mare burrascoso
Eng.: Stormy sea.
=DMM684 (R277,no684)

Venice-1914-37. Sulla sponda del lago
Eng.: On the lake shore.

Venice-1914-38. Sulle pendici del Vesuvio I
=DMM371 (R277,no371)
Venice-1914-39. Sulle pendici del Vesuvio II
=DMM372 (R277,no372)
Venice-1914-40, Sulle pendici del Vesuvio III
=DMM373 (R277,no373)
Venice-1914-41. Sulle pendici del Vesuvio IV
=DMM374 (R277,no374)
Venice-1914-42. Sulle pendici del Vesuvio V
=DMM376 (R277,no376)
Venice-1914-43. Sulle pendici del Vesuvio VI
Venice-1914-44. Sulle pendici del Vesuvio VII
Venice-1914-45. Sulle pendici del Vesuvio VIII
=DMM377 (R277,no377)
Venice-1914-46. Sulle pendici del Vesuvio IX
=DMM378 (R277,no378)
Eng.: On the slopes of Vesuvius.
I render some additional and uncertain options:
1871-72, On the slopes of the Vesuvius III, on wood, 18×31, MdI Giverny (iR8;iR10;M209;aR5=iR261)
1872, Snowcapped Vesuvius Landscape, on board, 9×18, xx (iR2;iR160;aR5=iR261);
1873, DMM437, SDbr, Return from Mount Vesuvius, on board, 19×32, A2009/06/09 (HW;iR14;iR11;aR5=iR261;R277,no437;R2,p122)
1872ca, Study of the Vesuvius 4, on panel, 13×18, GAM Milan (iR8;aR5=iR261;R2,p122;M107)
1872ca, Study of the Vesuvius 2, on panel, 9×18, GAM Milan (iR8;aR5=iR261;R2,p122;M107)
1872ca, DMM414, Sbl, Impression of the Vesuvius con figura a cavallo, op, 13×18, GAM Milan (iR8;R277,no414;aR5=iR261;M107)
1872ca, DMM406, Sbl, Impression of the Vesuvius XIII, on panel, 14×18, GAM Milan (iR8;aR5=iR261;R277,no406;M107)

Venice-1914-47. La Senna
Eng.: The Seine

Venice-1914-48. D’inverno
Eng.: In Winter
=DMM483 (R277,no483)

Venice-1914-49. D’estate
Eng.: In summer
=DMM495 (R277,no495)

Venice-1914-50. Accanto al laghetto (Giardino del Lussemburgo)
=DMM575 (R277,no575)
=?? 18xx, Étang dans le jardin du Luxembourg (Pond in the Luxembourg Gardens), ?cm, xx (iR2;aR5=iR261)

Venice-1914-51. Ritorno dalle corse (studio)
=?? 1875, SDbr, DMM569, Return from the Races, 58×115, Philadelphia MA (iR2;iR6;aR5=iR261;R231;R277,no569;M28)

Venice-1914-52. In salotto
Eng.: In the Drawing Room

Venice-1914-53. “Quai Voltaire” – Parigi
Eng.: “Quai Voltaire” – Paris
=DMM579 (R277,no579)

Venice-1914-54. Chiaro di Luna
=DMM777 (R277,no777)
Compare: 1882, Moonlight, pastel, 54×73, xx (iR160;aR5=iR261)

Venice-1914-55. Dintorni di St. Germain
Eng.: Surroundings of St. Germain. This ‘small painting’ was probably also exhibited in 1864 in Naples (R88I,p192).

Venice-1914-56. Lungo la Senna, pastel (Museo del Lussemburgo di Parigi, Paris)
=DMM621 (R277,no621)
=? 1876, Along the Seine, pastel, 52×72, private (iR2;aR5=iR261)

Venice-1914-57. L’avvicinarsi del temporale
Eng.: Approaching thunderstorm
=DMM237 (R277,no237)

Venice-1914-58. Impressione di Londra
Eng.: Impression of London

Venice-1914-59. Un ponte di Londra
Eng.: A London bridge

Venice-1914-60. In visita, pastel
Eng.: Visiting, pastel
=DMM977 (R277,no977)

Venice-1914-61. Dall’alto della diligenza
Eng.: From the top of the stagecoach
=DMM348 (R277,no348)

Venice-1914-62. Il kimono color arancio
=1883-84ca, DMM967, The orange Kimono, 42×31, Gallery Milan (aR21=M260;iR10;aR15;iR10;iR2;iR6;aR5=iR261;aR1;R277,no967)

Venice-1914-63. Figura femminile
Eng.: Female figure
=DMM951 (R277,no951)

Venice-1914-64. In vedetta
=1879ca, DMM782, Portrait of a Young Woman (on the lookout), 92×61, Axx (iR2;iR14;aR5=iR261;R277,no782)

Venice-1914-65. Dintorni di Parigi I
=DMM548 (R277,no548)
Venice-1914-66. Dintorni di Parigi II
=DMM549 (R277,no549)
Eng.: Surroundings of Paris

Venice-1914-67. Sull’erba
Eng.: On the Grass

Venice-1914-68. Modella
Eng.: Model

Venice-1914-69. Bimbo che dorme
Eng.: Sleeping child.
=?? 18xx, Siesta, ?cm, xx (iR2;aR5=iR261)

Venice-1914-70. Il cavallo e la fontana
Eng.: The horse and the fountain
=DMM669 (R277,no669)

Venice-1914-71-01. Cornice con studio di paesaggio
Venice-1914-71-02. Cornice con studio di paesaggio
Venice-1914-71-03. Cornice con studio di paesaggio
Venice-1914-72-01. Cornice con studio di paesaggio
Venice-1914-72-02. Cornice con studio di paesaggio
Venice-1914-72-03. Cornice con studio di paesaggio
Eng.: Frame with landscape study (Frame with three landscape studies)

Venice-1914-73. In aperta campagna (studio)
Eng.: In the open country (study)
=DMM287 (R277,no287)

Venice-1914-74. Sotto il ponte – Londra
Eng.: Under the Bridge – London
=DMM699 (R277,no699)

Venice-1914-75. Nel Tavoliere di Puglia I.
=DMM69 (R277,no69)
Venice-1914-76. Nel Tavoliere di Puglia II.
=DMM70 (R277,no70)
Venice-1914-77. Nel Tavoliere di Puglia III.
=DMM71 (R277,no71)
Venice-1914-78. Nel Tavoliere di Puglia IV
=DMM72 (R277,no72)
Eng.: In the ‘Tavoliere’ of Puglia / Apulia region ?

Venice-1914-79. Il laghetto di Green Park
Eng.: The small lake of Green Park

Venice-1914-80. Nubi su Westminster Londra
Eng.: Clouds over Westminster London.
=18xx, DMM716, Clouds at Westminister, 26×35, xx (aR15;R277,no716)
Christies suggests: 1870s, CR713, Westminster Bridge II, 46×61, A1999/12/07 (iR2;iR15;iR11;aR5-iR261).
Note: Christies mentions this was exhibited as no. 703.
Compare: EU-1878-Italie-58, Westminster (=DMM717).

Venice-1914-81. Prima del ballo
Eng.: Before the ball
=DMM758 (R277,no758)

Venice-1914-82. Attorno al lume
=1880ca, DMM759, In the Lamplight, xx, private (iR2;iR6;aR5=iR261;R277,no759)

Venice-1914-83. Nel palchetto
Eng.: In the box

Venice-1914-84. Accanto alla Senna (painting: aquarelle  Galleria del Castello Sforzesco di Milano, Milan)
Eng.: Beside the Seine

Venice-1914-85. “L’Esplanade des Invalides” (Conte Primoli)

Venice-1914-86. Il campo delle corse (studio)
Eng.: The Racing Field (study).
Compare: 18xx, DMM923, Sbr, Longchamp races, wc, 26×37, Axx (iR14;aR5=iR261;R277,no923;R421,no514)

 

Recommanded citation: “Impressionism: Giuseppe (Joseph) de Nittis, an account of his exhibited art-works. Last modified 2025/06/24.  https://www.impressionism.nl/giuseppe-de-nittis-account/”