Ottin, Léon, account

 

 

Impressionism, a historical reconstruction:

Léon-Auguste Ottin

(1836-1918)

Account

 

Introduction:
On this page you will find an account of the works Léon-Auguste Ottin exhibited at the 1st and 2nd ‘impressionist’ exposition (=1IE-1874 + 2IE-1876) and at the Salon (=S) and it’s successor the Salon de la Société des Artistes Français (=SdAF) and regional exhibitions. There will be references to the auction of 1891/12/16 notified as ‘A1891-x’ (aR15). See also the thematical overview of his pictures and of his stained glass windows.

 

Léon Ottin at the first ‘impressionist’ exposition 1874:

  • catalogue numbers 129 – 135
  • so in total Léon-Auguste Ottin exhibited 7 works; one work was a curtain (no. 132) or more likely a drawing of a curtain. One work was a litho (no. 133).
    • 2x an indication of place
    • 0x an indication of time, season or weather
    • 1x a study (no. 135)
    • 1x a loan (no. 134)
  • See link for an overview of his pictures.

short overview given suggestions + reviews:
No.132 + 133 + 134 + 135 are not reviewed at all.
The identity of M. J.N. who did loan no.134 is unknown (R90II,p293)
Of the following numbers only the title is mentioned: no.129.
The following numbers are just shortly remarked: no.130 +131.
Adhémar (1974=R87,p248), nor Moffett (1986=R2,p122) nor Berson (1996=R90II,p11), nor Patry/Robbins (2024=R410,p266) give any suggestions.

Reviews:
Burty (1874/04/25) reviewed ‘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)
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)
Louis Leroy (1874/04/25) rendered in his review a dramatic dialogue with a M. Vincent, writing ‘I attempted to calm him by showing him the St. Denis Canal by M. Lépine and the Butte Montmartre by M. Ottin, both quite delicate in tone; but fate was strongest of all’ and later ‘In vain I tried to revive his expiring reason by showing him a Levée d’étang, of M. Rouart, which lacks a few things to be quite right; a study of a castle at Sannois, of M. Ottin, very bright and very fine; but he was drawn to the horrible.’ (R90I,p25+26;R1,p320)
C. de Malte (1874/09/19) reviewed ‘We will limit ourselves to mentioning …, l’Eglise de Village of M. Ottin, …’ (R90I,p27)
Léon Ottin is also summed up in 5 reviews as one of the partakers by Burty (1874/04/16 + 25), d’Hervilly (1874/04/17), Drumont (1874/04/19) and in La Liberté (1874/04/20).
See the seperate pages on the reviews and on the art-critics.

1874 catalogue: (R2,p122;R87,p248;R90I,p7;iR1)

1IE-1874-129, Après la messe à la campagne
Eng.: After the mass in the countryside. Léon Ottin asked 500fr for this work (R411).
Berson refers to a review of de Malte, who just mentions the title (R90I,p27). To compare I render a painting of Gustave Colin, depicting people leaving a church service in the countryside: 1859, Village scene (leaving church), 131×105, A2013/04/09 (iR10;iR12;iR13;iR46). To compare I also render an aquarelle of Léon Ottin, depicting a couple in the country: 1854ca, Couple se reposant dans la campagne (in Charles Cuisin folio 33), wc, 20×27, DAG Louvre (iR23;iR357;M5a).

1IE-1874-130, Au château (Sannois)
Eng.: at the castle (Sannois). So probably Ottin depicted the interior of this castle. Léon Ottin asked 390fr for this work (R411).
Louis Leroy called this work ‘a study … very bright and very fine’ (R87,p260;iR4). Sannois lies 20km north-west of Paris, north of Argenteuil (iR9). Sannois lies in Val-d’Oise, but nowadays there is not a castle (see), but there is an avenue du Château, so maybe there was a castle in former days. This isn’t noted in a list of lost castles in the Île-de-France (iR4). But, Ebay (iR42) shows an old postcard and drawing (1850-60ca, 23x35cm) of the former Château Cernay in Sannois, which was build in 1832 and destroyed in 1883. But there is a postcard known, stamped 1909/07/14 depicting this same castle (see). And Maurice Utrillo depicted the entrance of this castle at the Rue Magendie in 1913 (iR11). Of this entrance there also is a postcard dated 1910 (iR42), one photo even seems identical (see). There is another postcard dated 1915/08/21 (see). In those days it was then part of the former Seine-et-Oise department, of which Val-d’Oise was part (iR3).
To compare I render the above mentioned drawing: unknown: 1850-60ca, Château Cernay in Sannois, dr, 23x35cm, for sale 2024/09/13 at Ebay (iR42;iR10). To compare I also render an aquarelle probably of Léon Ottin rendering the interior of a church, which gives some resemblance with the interior of a castle: 1856, Vue intérieure de l’église Jouy-le-Comte, wc, 25×35, BNF Paris (iR40;aR8;iR6;iR10;iR48;iR1).
Note: There is a château de Sannois which lies in Annet-sur-Marne; it was build in the 19th century (iR4). But, I assume it wasn’t this castle that was depicted by Léon Ottin.

1IE-1874-131, La butte Montmartre, versant sud
Eng.: the Montmartre hill, going south. Léon Ottin asked 200fr for this work (R411).
Louis Leroy (1874/04/25) called this work ‘quite delicate in tone’ (R1,p320;R87,p260). Philippe Burty (1874/04/25) called it a ‘charming summit study’ (R87,p262). Note: in 1876 Léon Ottin would exhibit many works depicting Montmartre.
To compare I render an oil painting dated 1875 probably depicting the Montmartre hill with in the distance (looking south) a view on Paris. I render a more detailed black and white picture and a coloured picture with very limited pixels in which the view is so vague that it also is (wrongly) titled ‘boy sitting on the beach’. Maybe this work was shown at the Salon of 1875: S1875-1570, La butte Montmartre, le matin: 1875, SDbr, Young man sitting on a dune, oil on wood, 21×33, A2006/05/20 (iR10;iR12;aR2;iR13).
I render the same work as suggestion for: 2IE-1876-184, Mont Cassin, versant sud (Butte Montmartre)

1IE-1874-132, La fête chez Thérèse, projet de rideau de théâtre
Eng.: The feast at Thérèse, theatre curtain project. Léon Ottin didn’t render an asking price for this work (R411).
Berson omits this work, which means there were no reviews (R90,p11).
There is a drawing (31x24cm; Maison Victor Hugo, Paris) known called ‘La fête chez Thérèse’ made around 1886 by Emile-Antoine Bayard (1837-91), which is an illustration for a poem by Victor Hugo with the same title (iR195); for the text of the poem see. In 1910 there was a ballet-pantomine with the same title (iR40). Gallica renders some pictures of it, including the decor of the first act, which represents curtains (iR40) and a drawing of this decor (iR40). I render the last one to compare. It seems to me most likely that Léon Ottin showed a drawing of a theater curtain and not the curtain itself.

1IE-1874-133, Une bergerie sans moutons, lithographie
Eng.: A sheepfold without sheep, lithograph. Léon Ottin didn’t render an asking price for this work (R411).
Berson omits this work, which means there were no reviews (R90,p11).
To compare I render an engraving by Charles-Emile Jacque (1813-94) depicting a sheepfold with sheep: 1859, La bergerie, etch, 28×44, A2021/08/28 (iR17).
Compare also a print / engraving by a German artist Albert Brendel (1827-95) made in 1862, depicting a sheepfold with sheep (iR6).

1IE-1874-134, At home; appartient à  M.T.N.
The English title does assume that T.N. was an Englishman. Maybe this picture depicted an interior. Léon Ottin didn’t render an asking price for this work (R411).
Berson omits this work, which means there were no reviews (R90,p11).
To compare I render a causy interior made by Viggo Johansen (1851-1935) at his home: 1895, The Family of the Artist, 84×90, Kh Hamburg (iR6;iR10;iR155). To compare I render also a reproduction of Ottin his work: S1868-1894, Les deux sœurs (R265,no3=iR40), which also shows an interior.

1IE-1874-135, Mariette, tête d’étude
Eng.: Mariette, study of a head. Léon Ottin asked 200fr for this work (R411).
Berson omits this work, which means there were no reviews (R90,p11).
To compare I render a painting by his daughter, depicting a women’s head: Juliet Ottin (1877-1944), 1903, Portrait of a mediaval woman, wc, 31×24, Gallery Paris (see; iR10).

 

Léon Ottin at the 2nd ‘impressionist’ exposition 1876:

  • catalogue numbers 183 – 196 = 14 numbers
  • number 195 contains 7 works: 14+6=20
  • and number 196 3 works: 20+2=22;
  • Monneret suggests these works were watercolours (R88I,p637)
  • so in total Léon-Auguste Ottin exhibited 22 works;
    There is discussion if he showed 10 watercolours (no.195+196) (R88I,p637). Most works known of Ottin depicting Montmartre, are watercolours. But, they are mostly dated later. And still, he also depicted Montmartre in oil paintings (1IE-1874-131 + S1875 + A1891,no.1-20). And his works are revieved as hanging in room 3 (namely paintings) and not in room 1 (many watercolours). So, I assume all his works shown were paintings.

    • 17x an indication of place (11, actually 12, of Butte Montmartre)
    • 4x an indication of time, season or weather
    • 0x a study
    • 2x a loan (no. 1876-193 + 196-2)
  • nor Moffett (R2,p164) nor Berson (R90II,p43) give any suggestions.
  • See link for an overview of his pictures.

Reviews:
L’Audience (1876/04/09) reviewed: ’the Butte de Montmartre has found in Mr. Ottin the younger a faithful interpreter, whose brushwork traces the original points, la Maison-Rouge, for example, la rue du Mont-Cenis, la Tour Solférino, etc.’ (no.191 +189 +193) (R90I,p53;Rv34).
Arthur Baignères remarks ‘The landscapists are numerous and ordinary. Beliard* choose the Oise, Outtin* (sic) fils Montmartre, Tillot* Villiers, Cals* Honfleur.’ (1876/04/12 =Rv41***/***; R90I,p55)
Philippe Burty remarked (1876/04/01) ‘At last in the 3rd room* landscapes by Tillot*, Pissarro*, Cals*, Rouard* (sic), Beliard* and Ottin*; the remarkable Natures mortes, by a lady who took the pseudonym of Jacques-François* and a serie of paintings by Degas*; no.36* and washerwomen and dancers.(R90I,p105-106;R2,p153 =Rv16**).
And later (1876/04/15 ) ‘The third room* contains…; other studies of varied interest by Ottin*, Cals*, Ronard* (sic), Beliard*; some natures mortes by a woman of society who adopts the pseudonym of Jacques François**. (R90I,p64-66;R2,p153-155 =Rv43***)
Marius Chaumelin reviewed ‘The landscapes of Sysley* (sic) are a radical mess. Those of Rouart*, Ottin*, Béliard*, Bureau*, Tillot* will not frighten anyone.’ (Rv33***; R90I,p67-68;R2,p167).
Jean Dolent (Rv58**) remarked ‘Ingénio had remembered this word from an artist in front of the small studies of M. Ottin jr. “It smells nice, like nature.” ‘ (R90I,p71).
Laurent-Pichet in Le Phare de Loire (1876/06/01): ‘M. Ottin jr. has gone round in circles. Constantly protesting against the conventions of the modern school, he returned to the past. He has no need to go far to find motivs; their are subjects in Montmartre just like in Rome. That is absolutely true and exactly right. But, with the horned goats and the dry stones like he shows us, M. Ottin, believing that they were departing from the classical style and the tradition, reminds the Italien landscapes of M. Paul Flandrin.*‘ (iR437)
Note*: I found it hard to understand and thus translate this review.
Le Masque de fer remarks ‘M. Ottin handles te Parisian landscapes of the buttes Montmartre a bit in the way of M. de Nittis.’ (Rv11; R90I,p98*)
Un passant mentions 17 of the 19 partakers, including Ottin (R90I,p101; Rv19)
Emile Porcheron (1876/04/04) reviewed ‘In the last room…* Ottin* shows among others two views of Montmartre who have a certain degree of truthfulness. (R90I,p103; Rv28***)
Pierre Dax / Rivière (1876/05/01) reviewed ‘Note some views of Ottin*; but he has only a very weak connection to the intransigeants.’ (R90I,p70/1; Rv51***)
Armand Silvestre remarked ‘The small compositions of Ottin* are not inferior to the good paintings of M. de Nittis.’ (R90I,p109-110;R2,p155+167 =Rv21**).
Note*: Most works that hung in room 3 were paintings, namely landscapes. None of the reviews connect him with room 1 where many watercolours were hung. So, it is likely that Ottin depicted only paintings, of which most are now lost. Clayson also writes that his ‘fourteen landscapes’ (note = catalogue numbers) hung in room 3 (R2,p147). Monneret (R88I,p637) claims that Ottin showed 10 watercolours (citing 3 titles from no.95); probably she ment all the works exhibited under no.95 +96.

1876 catalogue: (R2,p163/4;R90I,p50/51;iR1)

2IE-1876-183, La maison bleue (butte Montmartre)
Eng.: the blue house. Compare a painting from the 1891 auction: A1891-9 — La Baraque bleue, rue Saint-André (I can’t discern a Rue Saint-André in Montmartre).
Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a painting of Claude Monet depicting a blue house: 1871, CR184, The Blue House at Zaandam, 45×61, private (iRx;R22,CR184).
To compare I also render a later watercolour of Léon Ottin depicting a house in Paris: 1884/02/05, 77 Rue Richelieu (2e, Bourse – Vivienne), wc, 13×21, BNF Paris (iR40;iR10).

2IE-1876-184, Mont Cassin, versant sud (Butte Montmartre)
An unknown top / mountain in Montmartre. Berson leaves out this work, which means there were no reviews (R90II,p43).
I can’t find a Mont Cassin in Montmartre (there is one in Rome). Maybe it is the hill on which the Sacré Coeur would be build.
As a very uncertain option I render an oil painting dated 1875 probably depicting the Montmartre hill with in the distance (looking south) a view on Paris. I render a more detailed black and white picture and a small coloured picture:
1875, SDbr, Young man sitting on a dune, oil on wood, 21×33, A2006/05/20 (iR10;iR12;aR2;iR13).
I render this same work to compare for: 1IE-1874-131, La butte Montmartre, versant sud.
Maybe this work was (also) shown at the Salon of 1875: S1875-1570, La butte Montmartre, le matin.

2IE-1876-185, En plein soleil, versant sud (Butte Montmartre)
Eng.: In full sunlight, south-facing. Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a painting of Auguste Renoir with a clear sun: 18??, Sbr, view of Montmartre, ?cm, unknown location (iR10;iR64;iR2). To compare I also render a painting by Léon Ottin of a young man sitting in the sun, the view to the south on Paris:
1875, SDbr, Young man sitting on a dune, oil on wood, 21×33, A2006/05/20 (iR10;iR12;aR2;iR13).
Note: I suggest this work for no.184.

2IE-1876-186, Sur le Versant nord (Butte Montmartre)
Eng.: On the northern slope. Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a painting of Edmond Yon (1841-97):
1865, Les moulins de Montmartre; versant nord, oil painting, 24x35cm, Carnavalet Paris (iR4; iR195; M8)
To compare I also render an ink drawing of Léon Ottin:
18xx, (Lugt432c) La mire de Montmartre, impasse Girardon (detail), ink, 46×30, Carnavalet Paris (iR195;M8).
The impasse Girardon is on the northern slope of Montmartre.
To compare I mention two paintings of Vincent van Gogh depicting the quarry at the rue Caulaincourt at the north side of Montmartre:
1886, The hill of Montmartre with stone quarry, 32×41, VGM Museum (M73).
It is seen from the north, see the same scene:
1886, The hill of Montmartre with stone quarry, 56×63, KMM Otterlo (M72).

2IE-1876-187, Le Plateau de la Butte
Probably a more horizontal part of Montmartre. Berson leaves out this work, which means there were no reviews (R90II,p43).
Compare a painting from the 1891 auction: A1891-5 — Le Plateau de la butte en 1872.
To compare I render a later aquarelle made by Léon Ottin depicting a similar scene:
1882/07/03, Garçon assisse sur un plâteau dans Montmartre, wc, 24×33, BNF Paris (iR40;aR21;iR10;R2,p122).
To compare I also render a painting of a young man sitting on a dune in Montmartre:
1875, SDbr, Young man sitting on a dune, oil on wood, 21×33, A2006/05/20 (iR10;iR12;aR2;iR13).
Note: I suggest this work for no.184.

2IE-1876-188, La maison Lorcinier (Butte Montmartre); appartient à M.L…
Un unknown house. Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a later aquarelle made by Léon Ottin depicting another house (in the 2nd arrondissement):
1884/02/05, 77 Rue Richelieu (Elisa Moiron), (2e arr, Bourse – Vivienne), wc, 13×21, BNF Paris (iR40;aR21;iR10).
To compare I also render an oil painting of Ottin depicting a bridge but also houses in Venise:
18xx, Sbr, View on Venise (bridge), 24×34, A2021/02/23 (iR17).

2IE-1876-189, La rue du Mont-Cenis (Butte Montmartre).
See watercolours. Berson refers to a review in L’Audience, which refers to no. 189 or 195-3 (R90II,p43), where only the title is mentioned.
To compare I render a later aquarelle made by Léon Ottin depicting the Rue du Mont-Cenis:
1882/07/02, Escalier de la rue du Mont Cenis (Montmartre, 18e, Clignancourt), dr wc, 33×25, BNF Paris (iR10;iR40;R2,p264).
To compare I also render an oil painting of Louis Hista (1851-1935):
1875, SDbl, La rue du Mont-Cenis, à Montmartre, oil on wood, 23×13, Carnavalet Paris (M8).
Note: the works suggested for no.189, 192 and 195-3 are interchangeable.
The Rue du Mont-Cenis is often depicted by other painters:
Caillebotte in 1880 (2CR157;iR6)
Lépine in 1868-72 (iR48), in 1872ca (iR6) and undated (M190).
And many times by Maurice Utrillo (1883-1955) (iR17; iR13; iR390; iR15; iR13; M7; M3).

2IE-1876-190, Retraite de Russie, versant ouest (Butte Montmartre)
Eng.: retreat from Russia, going west (Montmartre hill). Berson leaves out this work, which means there were no reviews (R90II,p43).
The ‘retraite de Russie’ mostly refers to the retrait of the French army under Napoleon from Rusia in 1812 (iR4). It has been depicted in pictures several times (iR10) and also in literature (see). If Léon Ottin depicted this historical scene, it means a deviation from his more realistic themes. Maybe he was inspired on the novel ‘War and peace’ by Leon Tolstoi, which was first published in a russian journal between 1865-69 (iR4). The sympathies of Tolstoi for the anarchist Proudhon correspond Léon Ottin his own political sympathies. But the first publication of this novel in France was in 1879 (iR4), so could Ottin know the content of the novel in 1876? But, maybe Ottin was familiar with another publication on this topic or with art-works. Most of the pictures known of this historical event depict severe weather conditions with snow storms, mostly taking place in Russia or eastern Europe, so not in Montmartre.
To compare I render a painting by Illarion Pryanishnikov (1840-94):
1874, French retreat from Russia in 1812, oil painting, ?cm, unknown location (iR6)
To compare I also render a painting of a young man sitting on a dune in Montmartre:
1875, SDbr, Young man sitting on a dune, oil on wood, 21×33, A2006/05/20 (iR10;iR12;aR2;iR13).
Note: I suggest this work for no.184.

2IE-1876-191, La maison rouge, l’Abreuvoir (Butte Montmartre)
The red house, watering place (Montmartre hill). Berson refers to a review in L’Audience (R90II,p43), where only the title is mentioned.
At the 1891 auction there was a painting with a bit similar title: A1891-15 — L’Abreuvoir.
There is a Rue de l’Abreuvoir in Montmartre. (I doubt if there is still a watering place.) At the corner with the rue des Saules there is a ‘maison Rose’, a pink house, at no.2 (iR9; iR5). This location is often depicted in paintings (see; see).
Maurice Utrillo (1883-1955) depicted this house several times, I render to compare:
1916ca, La maison rose à Montmartre, oil on board, 29×39, A2000/11/09 (iR15; iR13)
I also render to compare a detail of:
1882/07/02, Escalier de la rue du Mont Cenis (Montmartre, 18e, Clignancourt), dr wc, 33×25, BNF Paris (iR10;iR40;R2,p264).
In this watercolour Ottin also depicts a red house.

2IE-1876-192, Petit rue Saint-Denis (Butte Montmartre)
Now called Rue Mont-Cenis (see; iR9). Note: Ottin also depicted the Rue Mont-Cenis, so probably in those days a part was called Petit rue Saint-Denis. The Rue Mont-Cenis is a very long street of about 1,3km (iR4). It starts in the south close to the Sacré Coeur and has several staircases.
Berson leaves out this work, which means there were no reviews (R90II,p43).
At the auction of 1891 there were 2 paintings with a similar title:
A1891-16 — Petite-Rue Saint-Denis, dans le haut;
A1891-17 — Petite-Rue Saint-Denis, dans le bas.
Compare two paintings of Stanislas Lépine:
1872ca, Rue Mont-Cenis, Montmartre, oil, 56×38, NG Ireland in Dublin (iR6);M290)
1868-72, Montmartre, La Rue Du Mont Cenis, ?cm, unknown location (iR48); iR334)
To compare I also render a later aquarelle made by Léon Ottin depicting the Rue du Mont-Cenis:
1883/06/02, Escalier de la rue du Mont-Cenis versant le nord (Montmartre, Paris), dr wc, 35×25, BNF Paris (iR10;iR40;aR21).
Note: the works suggested for no.189, 192 and 195-3 are interchangeable. See for more info at no.189.

2IE-1876-193, La tour Solferino (Butte Montmartre); Appartient à Mme O.
Berson refers to a review in L’Audience (R90II,p43), where only the title is mentioned.
A painting with a similar title was auctioned in 1891 from the properties of Léon Ottin:
A1891-14 — La Tour Solférino. Does this mean that Mme O. is his own wife, Mme Ottin?
The Solferino tower was build 1859, damaged in 1870/09/20 (during the French-Prussian war) and demolished in 1874 (iR4; iR6). It was located rue des Rosiers (now rue du Chevalier-de-La-Barre), just north-east of the Sacré-Coeur.
To compare I render a large detail of Louis Marie Chevalier:
after 1870/09/20, Le sommet de la butte Montmartre, avec la tour Solférino, vers 1870, 34×71, Carnavalet Paris (M8).
To compare I also render a painting of Ottin depicting a young man sitting on a dune in Montmartre, with maybe the Tour Solferino depicted at the top left:
1875, SDbr, Young man sitting on a dune, oil on wood, 21×33, A2006/05/20 (iR10;iR12;aR2;iR13).
Note: I suggest this work for no.184.

2IE-1876-194, Au cimetière (Butte Montmartre)
For the location of the large graveyard in Montmartre see. But there also is a smaller one being part of the église Saint-Pierre (iR9).
Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a later work from another painter:
Santiago Rusinol i Prats (1861-1931): 1891, Cimetière de Montmartre, 98×71, Cau Ferret Museun, Sitges (Spain) (iR6), that is a bit in the style of Ottin.
To compare I also render a watercolour of Ottin:
1884/08/12, Aux Tuilleries (1e arr., Louvre, Saint-Germain l’Auxerrois), dr +wc, 35×25, BNF Paris (iR40;iR10;iR64)
It depicts another location, but the wall depicted looks a bit like a wall of a graveyard.

2IE-1876-195, 7 pièces:
2IE-1876-195-1e, Le sommet, orage. 
Eng.: the peak, storm. Le sommet probably is a high plateau of the Montmartre hill.
Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a painting of Louis Marie Chevalier depicting the sommet of the Montmartre hill: after 1870/09/20, Le sommet de la butte Montmartre, avec la tour Solférino, vers 1870, 34×71, Carnavalet Paris (M8).
To compare I also render a painting of Georges Michel (1763-1843) depicting a storm at Montmartre: Moulin à Montmartre, avant l’orage, oil, 57×71, Louvre (iR357; M5)
To compare I also render a painting of Ottin depicting a young man sitting on a dune in Montmartre, with maybe the Tour Solferino at Le Sommet depicted at the top left:
1875, SDbr, Young man sitting on a dune, oil on wood, 21×33, A2006/05/20 (iR10;iR12;aR2;iR13).
Note: I suggest this work for no.184.
Compare also:
Théodore Rousseau (1812-67): before 1850, Vue de la plaine de Montmartre; effet d’orage, oil on wood, 24×44, Louvre (iR357; M5)2IE-1876-195-2e, Le sommet, brouillard sur Paris. 
Eng.: The peak, mist over Paris. Le sommet probably is a high plateau of the Montmartre hill.
Berson leaves out this work, which means there were no reviews (R90II,p43).
Compare: A1891-43 — Vue générale de Paris, du sommet de Montmartre.
To compare I render a painting of Vincent van Gogh, rendering a view on Paris from Montmartre; the atmosphere looks a bit hazy:
1886, F262, JH1102, View on Paris from Montmartre, 39x62cm, Kunstmuseum Basel (iR6; iR6).
Comapare also: 1886, F261, JH1101, View on Paris (from Montmartre), 54x73cm, VGM Amsterdam (iR6; M73)
To compare I also render a painting of another artist explicitly rendering the sommet of the Montmartre hill: Alexandre Dupendant (1833-84): 1871, Les canons de la Garde Nationale au sommet de la Butte Montmartre, ?cm, Carnavalet Paris (iR127;M8).
To compare I also render a painting of Ottin depicting a young man sitting on a dune in Montmartre, with maybe the Tour Solferino at Le Sommet depicted at the top left:
1875, SDbr, Young man sitting on a dune, oil on wood, 21×33, A2006/05/20 (iR10;iR12;aR2;iR13).
Note: I suggest this work for no.184.
2IE-1876-195-3e, Rue du Mont-Cenis
The Rue du Mont-Cenis lies in the 18e arrondissement Clignancourt. Berson refers to a review in L’Audience, which refers to no. 189 or 195-3 (R90II,p43), where only the title is mentioned.
To compare I render a later aquarelle made by Léon Ottin depicting the Rue du Mont-Cenis:
1883/06/02, Escalier de la rue du Mont-Cenis versant le nord (Montmartre, Paris), dr wc, 35×25, BNF Paris (iR10;iR40;aR21).
To compare I also render an oil painting of Stanislas Lépine (1835-92):
18??, Sbl, La rue du Mont-Cenis à Paris, oil on wood, 38×31, MBA Reims (M190)
Note: the works suggested for no.189, 192 and 195-3 are interchangeable. See more info at no.189.
2IE-1876-195-4e, L’observatoire à 10 cent
Berson leaves out this work, which means there were no reviews (R90II,p43).
There are / were several observatory in Paris:
(it is unclear which one was known as ‘à 10 cent’)
the observatoire de Sorbonne in the 5th arrondissement;
the Observatoire de Paris in the 14th arrondissement (Montparnasse) (iR9; iR6; see; info + engravings);
depicted by Jean (=Francisque) Millet (1666-1723): 1710ca, L’Observatoire vu de la Butte aux Cailles (detail), oil, 131×186, Carnavalet Paris (iR195; M8).
the former L’observatoire / Palais du bardo in the Parc Montsouris also in the 14th arrondissement (Montparnasse) (site; iR6);
see an old postcard. It was build for the Exposition Universelle of 1867 and in 1876 put into use as an observatory (see).
I render the painting of Jean Millet to compare and also an aquarelle of Ottin depicting another monumental building:
1904 09, SDb, View of the church of Saint Sulpice from the rue de la Garancière, wc, 18×12, A2021/02/05 (aR20;iR10).
2IE-1876-195-5e, Village Kabyle
An unknown village. Berson leaves out this work, which means there were no reviews (R90II,p43).
Kabyle means a member of a Berber people living in the mountainous coastal area east of Algiers and also the Berber language of the Kabyles (see; iR4; iR3). So, probably Ottin depicted a village in the north-east of Algiers. I can’t find any work that depicts a same scene and I don’t have any information that Ottin actually has been in Algiers, so I assume he depicted this from a photograph. When we look at photo’s of these villages we namely see village build against slopes of mountains (iR10).
To compare I render a picture of another artist depicting a village in Kabyle:
Maxime Noire (1861-1927): 1???, Kabyle village, 33×46, A2021/06/28 (iR11;iR10).
To compare I also render a more ‘exotic’ painting of Ottin made in Venice:
18??, Sbr, View on Venise (Palace), 24×34, A2021/02/23 (iR17)
2IE-1876-195-6e, D’un balcon, soleil couchée. 
Eng.: from a balcony, setting sun. Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a painting from another artist with a scene from a balcony with a setting sun:
Richard Bergh (1858–1919): 1899-1900, Nordic Summer’s Evening, oil, 170 x 224 cm, Km Göteborg (iR35;iR6;M94)
To compare I render: 18xx, (Lugt432c) La mire de Montmartre, impasse Girardon, ink, 46×30, Carnavalet (iR195;M8); a drawing that is maybe made from a balcony; and also: 1856/01, Couple dans une gondole (in Charles Cuisin folio 24), wc, 20×27, DAG Louvre (iR23;iR357;M5a), an older watercolour also depicting a setting sun.
2IE-1876-195-7e, Entre les rues des Carrières et Marcadet. 
Berson leaves out this work, which means there were no reviews (R90II,p43).
Location: Probably where the Rue Marcadet and the Rue Eugène Carrière cross in the 18e arrondissement Clignancourt, see map.
See old postcards of the Rue Marcadet (cparama.com) and info (iR4).
Compare a watercolour of another artist depicting the rue Marcadet:
Henri Jean Baptiste Lévis: 1876, SDbl+r, Rue Marcadet et rue du Mont-Cenis, watercolour, 26x40cm, Carnavalet Paris (iR6;iR195;iR48;M8)
To compare I render a watercolour of Ottin depicting a junction of two other roads in Paris:
1876/07/18, Butte Montmartre – Grande Carrières, wc, 15×22, BNF Paris (iR40;aR21;iR10;iR120;R2,p164).
Note: this picture looks out on Moulin du Radet at the corner of Rue Lepic and Rue Girardon (iR9;iR26); it is part of a bistro called ‘Moulin de la Galette’, see thematical overview.

2IE-1876-196, 3 pièces:
2IE-1876-196-1e, Le parc
Eng.: the park. Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a later aquarelle of Ottin depicting the Tuilleries parc in Paris:
1884, SDbl, Les Tuileries, Louvre, wc, 37×53, Axx (iR10;iR116).
To compare I also render a later oil painting of Ottin depicting the quays viewing Pont Neuf:
1886, Vue du Pont-neuf, 110×201, A2017/06/15 (iR11;iR10;iR16;iR17;iR41)
2IE-1876-196-2e, Auvergne; Appartient à M. And. Gill
The Auvergne is a region in France. Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a painting by another artist depicting an Auvergne landscape:
Henri-Joseph Harpignies (1819-1916): 1870, Landscape in Auvergne, 55×83, NGA Washington (M21;iR10).
To compare I also render a watercolour of Ottin made in Switzerland, also a hilly surrounding:
1894, Cottages in Sachseln, Switzerland, wc, 25×36, A2024/09/24 (iR11;iR10).
2IE-1876-196-3e, De la rue Ordener. 
The rue Ordener lies also in the 18e arrondissement Clignancourt in Paris.
Berson leaves out this work, which means there were no reviews (R90II,p43).
To compare I render a gouache of another painter:
Maurice Utrillo (1883-1955): 1922, Rue Ordener, Paris, gouache, 27×37, AI Chicago (M20;iR10)
To compare I also render a later aquarelle depicting another road also in the 18e arrondissement:
1882/07/16, Une rue dans Montmartre – Grande Carrières (Paris), wc, 23×30, BNF Paris (iR40;aR21;iR10;iR35).

 

Léon-Auguste Ottin at the Salon
Here below you will find an account of the art-works that Léon Auguste Ottin exhibited at the Salon (=S) and it’s successor the Salon de la Société des Artistes Français (=SdAF). I am much obliged to the Salon database for their information (iR1).

S1861-2409, Portrait de M. P…
Probably his debut at the Salon.

SdR-1863-289, rue Saint-Jacques; de Delaroche
Léon Ottin was rejected for the Salon and exhibited at the Salon des Refusés. Note: Léon Ottin was a pupil of Paul Delaroche, so maybe this is a copy of a work of Delaroche. The Rue Saint-Jacques lies in Paris.

SdR-1863-432, Portrait de M. L.
A portrait of a man.

SdR-1863-433, Portrait de madame O.
A portrait of a woman.

SdR-1863-434, Une église de campagne; étude
Eng.: a church in the countryside; studie. Compare: L. Ottin, 1856, Vue intérieure de l’église Jouy-le-Comte, wc, 25×35, BNF (iR40;iR6;iR10;iR48).

S1864-1459, Portrait de M. A. A…, artiste dramatique
So this must be a portrait of a man.

SdR-1864-3286, Le donneur de trompe, valet de chiens; Peinture
Eng.: (?) the trunk donor, servant of the dogs; painting. Probably 2 different works. Note: he exhibited this number / these works in the catagory ‘Ouvrages non admis au concours des récompenses’ (Eng.: works not admitted to the awards competition) (iR1). Boine mentions they were rejected and included as a sort of Salon des Refusés (R287,p416+).

S1865-1630, Entre ciel et terre
Eng.: between earth and sky.

S1866-1470, Vénus
One of the rare mythological themes of Léon Ottin.

S1867-1162, Concert à l’atelier
Eng.: concert in the studio.

S1868-1894, *Les deux sœurs
Eng.: two sisters. Pothey calls it ‘a simple, blonde, luminous composition, drawn with a lot of energy and willpower’ (R265,no3=iR4).

S1868-1895, *Après le bain
Eng.: after the bath. Pothey mentioned it was hung so high, that you couldn’t discern it’s qualities (R265,no3=iR40).

S1869-1836, Madelaine (Voir aux Dessins, etc.)
A portrait of a woman.

S1869-3011, La roue de la fortune; vitrail (Voir à la Peinture)
Eng.: The wheel of fortune; stained glass window.

S1870-3877, Décollation de sainte Barbe; vitrail
Part of the Saint-Quentin basilique?

S1870-3878, Mélancolie, allégorie; vitrail
Part of the Saint-Quentin basilique?

S1870-p753, Collégiale de Saint Quentin. Restauration des légendes des saintes Catherine et Barbe
Additional info: Monuments publics ; Saint-Quentin, basilique (iR1).

S1870-p753, Restauration d’un vitrail représentant l’arbre de Jessé;
Monuments publics; Châtillon-sur-Seine (Côte d’Or), église Saint-Nicolas.
Additional info: Cette notice n’est pas numérotée et apparaît p. 753 du livret. Monuments publics – Ouvrages exécutés ou placés dans les Monuments publics depuis le précédent Salon, et qui, par leur nature, ne peuvent figurer à l’Exposition. (iR1)
Compare: 1872-x-2.

S1872-p337, Eglise Saint-Nicolas, à Châtillon-sur-Seine (Côte-d’Or): /
S1872-p337-1, Restauration de la Légende de saint Jacques ;
Compare: SdAF-1900-2316bis-1, Deux scènes du Vitrail retraçant la légende de Saint-Jacques-de-Compostelle; église de Saint-Nicolas, à Châtillon-sur-Seine.
=? Fragments de la fenêtre de Saint-Jacques (16th century), dessin de vitrail, ?cm, l’église Saint-Nicolas (Châtillon-sur-Seine) (aR7,p148+)
=? Verrière (XVIe siècle) des Pélerins de Saint-Jacques (detail) de l’église Saint-Nicolas de Châtillon-sur-Seine (iR6;iR1)
S1872-p337-2, restauration de L’Arbre de Jessé.
Compare: S1870-p753
Additional info: Monuments publics. Cette notice n’est pas numérotée et apparaît p. 337 du livret (iR1).

S1875-1570, La butte Montmartre, le matin
Peinture
Compare 1874-131 and many other works exhibited at the 2nd ‘impressionist’ exposition. This painting was part of the 1891 auction: A1891-1 — Sur la butte Montmartre (Exposition de 1875). Though this work was a painting, compare the same theme in his watercolours.

S1876-p537, Eglise Notre-Dame-de-Cléry (Loiret): (4) vitraux.
Additional info: Monuments publics; Cette notice n’est pas numérotée et apparaît p. 537 du livret.
S1876-p537-1, Le voeu de Dieppe /
Eng.: The wish of Dieppe.
S1876-p537-2, Installation du roi Louis le onzième comme premier chanoine de Cléry /
Eng.: Installation of King Louis the 11th as the first canon of Cléry.
S1876-p537-3, L’Adoration des bergers /
Eng.: the adoration of the Sheppards. A biblical theme.
S1876-p537-4, Attaque du pont de Meung par Jeanne D’arc [Jeanne d’Arc] ;
Eng.: Attack of the Meung bridge by Jeanne D’arc. A historical theme.

S1879-4294-1, Donateurs avec leurs patrons, saint Roland et saint Georges;
S1879-4294-2, Donateurs avec leurs patrons, saint Mathieu et sainte Adélaide; vitraux
Eng.: Donors with their patrons, Saint Roland and Saint George; Saint Matthew and Saint Adelaide; stained glass windows.

S1879-p534, Hôtel-Dieu de Beaune (Côte-d’Or). /
Grande salle: crucifixion; Mater dolorosa; verrière ;
Additional info: Monuments publics ; Cette notice n’est pas numérotée et apparaît p. 534 du livret.

Salon de la Société des Artistes français (=SdAF):
(Léon-Auguste Ottin was a member.)

SdAF-1881-3230, Vacances en Normandie; sept aquarelles
Probably 7 watercolours made during his holidays in Normandie. Léon Ottin will exhibit many watercolours. Compare works from the 1891 auction: A1891-115 à 129 – Quatre-vingt-huit aquarelles, bords de la mer: Étretat, le Tréport, Yport, Courseulles, et divers.

SdAF-1882-3688, Promenade au bord d’un canal, d’après Leys; peinture sur verre
Eng.: walk along the canal, after Leys; painting on glass

SdAF-1882-3689, Les cantons suisses et leurs alliés; peinture sur verre
Eng.: The Swiss cantons and their allies; painting on glass.

SdAF-1883-3079, Le placet; vitrail
Eng.: (?) the plot or: the petition; stained glass window

SdAF-1883-3080, Carnaval; vitrail
Eng. carnaval; stained glass window

SdAF-1884-3063, L’Ecu de la ville de Bâle, d’après Holbein; vitrail
Eng.: the shield of the town of Bâle, after Holbein; stained glass window.

SdAF-1884-3064, Quatre aquarelles: /
Maybe 4 watercolours on shipping and waterviews.
SdAF-1884-3064-1. Dans le petit ris. /
Eng.: In the little reef.
SdAF-1884-3064-2. Navire sur le chantier. /
Eng.: vessel on site.
SdAF-1884-3064-3. La berge du quai Voltaire. /
Eng.: the bank of the Quai Voltaire. the Quai Voltaire is at the other side of the Seine opposite the Louvre in Paris.
SdAF-1884-3064-4. Les bains de la Frégate
Eng.: The baths of the Frigate

SdAF-1885-1892, *Intérieur finlandais
Eng.: Finnish Interior

SdAF-1885-3080, Deux aquarelles: /
Two bridges leading to the Île de la Cité.
SdAF-1885-3080-1, Le Pont-Neuf /
See watercolours.
SdAF-1885-3080-2, Le Pont-au-Change
See map.

SdAF-1886-3206, Portrait de Mlle Albertine L…; aquarelle
Portrait of a woman.

SdAF-1886-3207, Le Pont-Neuf; aquarelle
See watercolours.

SdAF-1887-3309, *La berge du quai du Louvre, pendant les travaux de reconstitution en 1886; aquarelle
Eng.: The bank of the Quai du Louvre, during the construction works in 1886; watercolour. See map. Also at the 1891 auction: A1891-42 — La Berge du quai du Louvre (Exposition de 1887).

SdAF-1888-3444, *La route de Vaucotte, à Yport; aquarelle
Eng.: the road to Vaucotte at Yport. Vaucotte lies about 37km north of Le Havre at the Normandie coast.

SdAF-1890-3212, Le Pont Neuf du port au charbon à Paris; aquarelle
Eng.: the Pont-Neuf (bridge) at the coal harbour in Paris; watercolour. Compare 2 paintings from the 1891 auction: A1891-2 — La Cité du Port au charbon + A1891-6 — Le Pont-Neuf, du quai des Orfèvres. Compare: A1891-115 à 129 – Quatre-vingt-huit aquarelles, bords de la mer : Étretat, le Tréport, Yport, Courseulles, et divers.

SdAF-1890-3213, Le lavoir, à l’Isle-Adam; aquarelle
Eng.: the washhouse at L’Isle-Adam; watercolour. L’Isle-Adam lies about 60km north-west of Paris, north of Pontoise.

SdAF-1896-4308, L’arbre de Jessé de l’église Saint-Nicolas, à Châtillon-sur-Seine (Côte-d’Or); dessin de vitrail du XVIe siècle, restauré
Compare S1870-p753; S1872-p337

SdAF-1897-3653, Projet de vitrail, pour plafond lumineux de théâtre
Eng.:Stained glass project for a theatre for a bright ceiling

SdAF-1898-4420, Le vitrail en l’an 950; Restitution du plus ancien vitrail français mentionné dans les chroniques ; sainte Paschasie (Xe siècle) (Ecole bourguignonne) ; dessin d’architecture

SdAF-1900-2316bis, Deux scènes du Vitrail retraçant la légende de Saint-Jacques-de-Compostelle; église de Saint-Nicolas, à Châtillon-sur-Seine (R337/1900; architecture section)
Compare: S1872-p337-1, Eglise Saint-Nicolas, à Châtillon-sur-Seine (Côte-d’Or), Restauration de la Légende de saint Jacques.
=? Fragments de la fenêtre de Saint-Jacques (16th century), dessin de vitrail, ?cm, l’église Saint-Nicolas (Châtillon-sur-Seine) (aR7,p148+)
=? Verrière (XVIe siècle) des Pélerins de Saint-Jacques (detail) de l’église Saint-Nicolas de Châtillon-sur-Seine (iR6;iR1)

SdAF-1901-3904, *Dessin de l’ancienne verrière de sainte Barbe, de la collégiale de Saint-Quentin
Eng.: Drawing of the former glass roof of Saint Barbara, of the collegiate church of Saint-Quentin

SdAF-1901-3905, *Dessin de l’ancienne verrière de sainte Barbe, de la collégiale de Saint-Quentin
x

SdAF-1902-3248, Dessin d’un vitrail ancien représentant l’arbre de Jessé, de l’église de Ploërmel
x

SdAF-1903-3640, Fragment du vitrail de Notre-Dame-de-Lorette, à l’église Saint-Etienne de Beauvais; aquarelle ; Architecture
Compare a watercolour from the 1891 auction: A1891-51 — Chevet de Notre-Dame-de-Lorette.

SdAF-1903-3641, Vitraux de la Cathédrale de Quimper, XVe siècle; dessin; Architecture

SdAF-1904-3740, Quatre aquarelles: Les anciens ponts de Paris
Eng: 4 watercolours: the old bridges of Paris. Compare watercolours from the 1891 auction: A1891-49 — Le Pont Marie + A1891-57 — Le Pont des Anneaux.

SdAF-1904-3741, Quinze aquarelles: Au Portel
Probably 15 watercolours made in Portel, south of Calais at the Normancy coast.

 

Note: the Salon database suggests there were works of a ‘Ottin’ exhibited in 1889 + 1891 + 1900 +1911 +1912 at the Salon de la Société des Artistes Français, in 1894 + 1906 at the Salon des Indépendants and in 1897 + yearly from 1899-1908 at the Société National des Beaux-Arts and also at the Salon d’Automne of 1903 +1904 +1905, but doesn’t render any further notifications (iR1).
His son Henri-Léon Ottin also exhibited at the Salon:
SdAF-1902- 3247 Croquis de voyage ; Architecture
SdAF-1904- 3738 Souvenir d’excursion ; Architecture
His daughter Mlle Juliette-Andrée Ottin also exhibited at the Salon:
SdAF-1904- 3739 Deux aquarelles : /
1. Entrée de ferme Louis XIII, à La Salle. /
2. Rue, à Saint-Valery-en-Caux.
She also exhibited miniatures in 1910 + 1913.
They seamed to live at the same address as their father or was 29, Boulevard Pereire, Paris. Maybe it was a shared studio.

 

Léon-Auguste Ottin at regional exhibitions:
Léon-Auguste Ottin sometimes exhibited at regional exhibitions.
Note: the name ‘Ottin’ is also noted in the search results of the Salon database (=iR1) for exhibitions in Blois (1883 +1902), Mulhouse (1883 +1886) and Toulouse (1864 +1885 +1886 +1888 + 1892 +1902), but there are no further notifications.

Blois:
Blois-1858-145, Une nature morte, Peinture (iR1)

Besançon:
Besançon-1870-247, Madeleine.
Notification: 1st class medal for the exposition des Beaux-Arts appliqués à l’industrie (iR1).

Toulouse:
Léon-Auguste Ottin lived at 15, Boulevard Berthier in Paris.
In 1886 he had received a ‘médaille d’argent’.

Toulouse-1887-339, Intérieur finlandais (painting).
Notification: in the catalogue no.334 (sic).

Toulouse-1887-597, Le Pont-Neuf, Paris (aquarelle)
Notification: 150 francs.

 

 

Works from the 1891 auction:
Here below you will find a list from the auction held 1891/12/16 in Paris at Hôtel Drouot with works from the studio of ‘L. Ottin’ (aR15=iR40). The titles marked with a ‘v’ have some connection with works exhibited at the Salon and the ‘impressionist’ expositions of 1874 + 1876. See link for a thematical overview of his pictures.

Peinture:

A1891-1 — Sur la butte Montmartre (Exposition de 1875) v

A1891-2 — La Cité du Port au charbon v

A1891-3 — Près la porte Bineau.

A1891-4 — La Place Saint-Pierre en 1874.

A1891-5 — Le Plateau de la butte en 1872. v

A1891-6 — Le Pont-Neuf, du quai des Orfèvres v

A1891-7 — La Porte d’Asnières.

A1891-8 — L’Ancien Marché à la triperie, 1856.

A1891-9 — La Baraque bleue, rue Saint-André v

A1891-10 — Coin de la rue des Rosiers.

A1891-11 — Rue Damrémont.

A1891-12 — Neige.

A1891-13 — A Clignancourt.
Note: Léon Ottin made many works in Clignancourt, the 18e arrondissement de Paris.

A1891-14 — La Tour Solférino v

A1891-15 — L’Abreuvoir v

A1891-16 — Petite-Rue Saint-Denis, dans le haut v

A1891-17 — Petite-Rue Saint-Denis, dans le bas v

A1891-18 — Parterre du théâtre Montmartre.

A1891-19 — Sept Vues de Montmartre.

A1891-20 — Le Moulin de la Galette et l’Obélisque de Cassini.

A1891-21 — Près de la rue de la Fontaine-du-But.

A1891-22 à 41 — (20) Toiles sans cadre: Vues de Paris.

 

AQUARELLES SOUS VERRE

A1891-42 — La Berge du quai du Louvre (Exposition de 1887) v

A1891-43 — Vue générale de Paris, du sommet de Montmartre.

A1891-44 — Panorama de Paris, en 1831, près de la tour de Saint-Gervais.
Note: Léon Ottin was born in 1836. Was this a work of his father Auguste? Or is it made after another picture?

A1891-45 — La Cité de la Fenêtre du salon d’Apollon, au Louvre.

A1891-46 — Sur les toits (Exposition de 1880.)
Note: The salon database doesn’t mention that Léon Auguste Ottin exhibited at the Salon of 1880, so it is unclear where he exhibited this work.

A1891-47 — A Montmartre.
Note: Léon Ottin made many works in Montmartre.

A1891-48 — Huit Croquis de théâtre.
note: probably 8 studies.

A1891-49 — Le Pont Marie v

A1891-50 — Grand terrain, à Montmartre.

A1891-51 — Chevet de Notre-Dame-de-Lorette v

A1891-52 — Passage Saint-Roch.

A1891-53 — La Sainte-Chapelle

A1891-54 — Au Théâtre Montmartre

A1891-55 — Sur la scène de l’ancien Opéra-Comique

A1891-56 — Escalier de l’hôtel Du Barry

A1891-57 — Le Pont des Anneaux v

A1891-58- Escalier de la place du Tertre, de bas en haut

A1891-59 — Escalier de la place du Tertre, de bas en haut

A1891-60 — Rue Saint-Vincent

A1891-61 — Devant, le Sacré-Coeur

A1891-62 à 78 — Dix-sept grandes aquarelles sur Paris, en carton.

A1891-79 à 114 — Soixante-dix-neuf aquarelles sur Paris, en carton

A1891-115 à 129 – Quatre-vingt-huit aquarelles, bords de la mer : Étretat, le Tréport, Yport, Courseulles, et divers. (Ces lots seront divisés.) v

 

Titles from recent auctions:

18xx, SD, La Rue St. Vincent, Montmartre, wc, 24×18, A1997/11/26 (iR17)

 

 

Recommanded citation: “Impressionism: Léon-Auguste Ottin, account of his exhibited art-works. Last modified 2026/03/23.  https://www.impressionism.nl/ottin-leon-account/”

 

Note: additional info will be added.