Boudin account

 

 

Impressionism, a historical reconstruction:

Eugène Boudin

(1824-1898)

Account

of his exhibited works

 

Introduction:
On this page you will find an extended account of the works that Eugène Boudin exhibited at the 1st ‘impressionist’ exposition in 1874. You will also find the start of a more brief account of the works Boudin exhibited at the Salon, the Société des Artiste Français (SdAF) and the Société National des Beaux-Arts (SNBA), where he exhibited very frequently. And also at regional exhibitions, the Exposition Universelle. For general information about Boudin and the used sources see the main page. For the exhibited pictures in 1874 see. For an impression of some works he exhibited at the Salon, see.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 17-22
  • No. 20 en 22 consisted of 4 works and no. 21 of 2 works
  • so in total Boudin exhibited 13 works, 3x oil paintings, 4x watercolours, 6x pastels
    • 7x indication of place
    • 0x indication of time, season or weather
    • 6x a study
    • 0x loans (appartient à…).
  • See for the suggestions of Moffett (R2,p119). Moffett refers to an exhibition catalogue in Galerie Schmidt in 1973 made by Robert Schmidt (R2,p498). See for the suggestions of Adhémar (R87,p230). See for the suggestions of Berson (R90II,p3). See for the suggetions of Patry/Robbins (2024=R410,p273).
  • See the exhibited pictures.

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)
E.C. (Emile Cardon) reviewed in Revue de France vol.10 1874/04 ‘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).
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. Boudin, whose marines are well appreciated; …’ (R90I,p13).
Etienne Carjat (1874/04/27) reviewed ‘We have found there M. Boudin, this poet of the sea, who faithfully captures the different aspects of the Brittany and Normandy coasts.’ (R90I,p14).
Castagnary (1874/04/29) reviewed ‘among the exhibitors, though there are who are still struggling to make their presence felt, there are a number of them whose place has long been marked in honourable rank’ and starts his list with ‘Boudin has commanded respect for years and his works are fought over at very high prices.’ Later adding ‘But it is not about these well-known names, nor about their accepted works, that the question is raised about the school of which I spoke of at the beginning.’ (R2,p125;R90I,p16).
Ernest Chesnau (1874/05/07) reviewed in Paris-Journal and Le Soir: ‘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;R90I,p18).
E. Drumont (1874/04/18) mentioned Boudin listed up in ‘Furthermore we mention … two beautiful Marines of Boudin …; le Clocher de Jouy-le-Comte of Boudin (sic = Bureau)’ (R90I,p21)
Ernest d’Hervilly calls Boudin as one of the first members of ‘la société coopérative’ and later remarks ‘M. G. Colin, M. Boudin and M. Z. Astruc, all artists of great value, who brought to the Exhibition of paintings the fine flower of their talent for research and exploration. (R87,p256/7).
C. de Malte (1874/04/19) mentions him in an enumeration ‘The landscapes, studies, marines of madame Berthe Morisot, of Mrs. Brandon, de Molins, Belin (sic), Baudin (sic), Lépine, etc., etc.’ (R90I,p28)
Marc de Montifaud (1874/05/01) reviewed ‘The marine painters could have won the game on their own, as the exhibitors intended.’ and then mentions him in an enumeration ‘…; Boudin, le Toulinguet, côtes de Camaret (Finistère), Rivage de Portrieux (Côtes-du Nord); …  (R90I,p30).
Le Phare de la Loire (1874/04/18) mentions him in an enumeration ‘We find here …, Boudin with a Plage à marée basse (a beach at low tide) (iR437).
Le Père Siffleur (1874/04/26) wrongly mentioned him in summing up ‘serieus works, worthy of attention’: ‘Le Clocher, of Jouy (sic) Le Comte of Boudin (sic)’; this actually referred to ‘Le Clocher de Jouy-le-Comte’, a work of Bureau: (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.’ (R90I,p40).
Emile Zola (1874/04/18) summed him up in ‘at last several very interesting canvasses of Mrs. Morisot (sic) and of Mrs Renoir, Bracquemont (sic), Colin and Boudin.’ (R90I,p38)
See the seperate pages on the reviews and on the art-critics.

 

The catalogue (R2,p119;R87,p230;R90I,p4;iR1):

1IE-1874-17, Le Toulinguet, côtes de Camaret (Finistère)
The first catalogue indicates that Boudin asked 800fr for this work (R411).
Le Toulinguet is in the far west of the Brittany peninsula, see link for location (iR9).
Berson refers to a review of De Montifaud (1874/05/01), but he just mentions the work.
Dayez/Adhémar suggests with a ‘probably’ 1872, Camaret, Le Toulinguet (Finistère), from the old collection of Durand-Ruel. Moffett suggests with a perhaps: Schmidt 808 or 809. Berson leaves it unidentified and she points out that Schmidt no.809 is the same as Adhémar suggests.

1IE-1874-18, Rivage de Portrieux (Côtes-du-Nord)
1IE-1874-19, Rivage de Portrieux (Côtes-du-Nord)
The first catalogue indicates that Boudin asked 600fr for both these work (R411).
Eng.: the shoreline at (Saint-Quay-)Portrieux, see map (iR9).
Note the same title as S1874-230, Rivage du Portrieux.
Moffett suggests with a perhaps for no.18: 1874, Environs de Portrieux (The coast near Portrieux, Brittany), 85×148 in a private collection in England = Schmidt no. 964 (R2,p125). Berson remarks that this option is also applyable to no.19. Berson refers to a review of De Montifaud (1874/05/01), but he just mentions the work. Adhémar doesn’t give a suggestion. Selz suggests the following work to be exhibited ‘1874, Surroundings of Portrieux’ and describes it as ‘a range of colors with its brown earth and glowering stormy sky’ (R161,p65); I could not identify this work. For no.19 I render to compare a work that is made a year later: 1875, The Shore and the Sea at Portrieux, 54×90, private (iR2;R2,p119;R90II,p3).

1IE-1874-20, 4 Cadres (même numéro). Études de ciel (pastels)
The first catalogue indicates that Boudin asked 100fr for each of these works (R411).
Berson omits this work, which also means there was no review (R90II,p3).
Moffett doesn’t give a suggestion; see also no. 22. Adhémar doesn’t give a suggestion.
I render 4 uncertain options: 1860, Seascape with Large Sky, pastel, xx, private (iR2;R2,p119);
and: 18xx, Sky, an afternoon in October, pastel, 21×29, A2000/11/20 (iR13;R2,p119;R87,p230);
and: 18xx, Study of the sky, pastel, 15×22, A2017/03/29 (iR13;iR10;R2,p119;R87,p230);
and: 1854-59ca, Sunset and cliff (Étretat), pastel, 15×21, MEB Honfleur (iR23;R51,p197;R2,p119;R87,p230;M19) =EdBA-1899-?.

1IE-1874-21, 2 Cadres (même numéro). Études diverses (pastels)
The first catalogue indicates that Boudin asked 100fr for each of these works (R411).
Berson omits this work, which also means there were no reviews (R90II,p3).
Moffett doesn’t give a suggestion. Adhémar doesn’t give a suggestion.
I render two very uncertain options:
1855-60, Honfleur, the lighthouse, pastel, private (iR2;R2,p119);
and: 1860, The Saint-Simeon Farm, pastel, 20×30, private (iR2;R2,p119).

1IE-1874-22, 4 Cadres (même numéro). Plage de Trouville (aquarelles)
Trouville lies about 20km south of Le Havre.
The first catalogue indicates that Boudin asked 100fr for each of these works (R411).
Berson omits this work, which also means there were no reviews (R90II,p3).
Dayez/Adhémar suggests with a ‘probably’ 1874, Plage de Trouville, watercolour. Moffett refers to this suggestion, wrongly noting no.20. I could not find a picture of this one.
I render 4 uncertain options:
1868, Trouville, wc, 17×27, private (iR2;R2,p119);
and: 1865ca, A Couple Seated on the Beach with Two Dogs, watercolour, 17×21, NGA Washington (iR2;R2,p119;R87,p230;M21);
and: 1872/05/09, Crinolines on the Beach, wc, xx, private (iR2;R2,p119;R87,p230);
and: 1866, Beach of Trouville, wc, 35×42, A2018/12/04 (iR11;R2,p119;R87,p230).

Not exhibited:
There are other works suggested to have been exhibited in 1874, but probably incorrect:
*Joconde (wrongly) suggests CR966 was exhibited at the 1st ‘impressionist’ exposition in 1874 (iR23): 1874, CR966, SDbr, Le Port de Bordeaux, 71×102, Orsay (M1;iR10;iR39;iR23;iR1;R161,p62;R138,no68;R122,no966); =ENSBA-1899-? -> bought by the State.
*1874/10, CR976, SDbl, Bordeaux, the harbour, 41×65, Orsay (iR10;iR7;R161,p62); Provenance: Mme Soucaret; GP19030529-4.
Selz mentions this was suggested in the ‘Catalogue of Impressionist Paintings, Pastels and Sculptures’ published by the Louvre in 1959 (R161,p64). But, Selz wrongly claims this work was bought by the State in 1899 (p62); maybe he did mistake with CR966.

 

Eugène(-Louis) Boudin at the Salon, the SdAF and the SNBA:
Here I will render a brief account of the works that Boudin exhibited at the Salon (=S) from 1859-79, the Salon de la Société des Artistes Français (=SdAF) from 1880-89 and the Salon de la Société National des Beaux-Arts (=SNBA) from 1890-97 (iR1). Note: from 1890-96 there also was a Mlle Alice-H. Boudin, born in La Charité (Nièvre) who exhibited etchings (iR1).

General overview:

Boudin at the Salon (=S):
I used several sources. For the titles namely the Salon database (iR1). For the suggestions catalogues on Boudin (R51;R161;R318), namely the suggestions of Laurent Manoeuvre (R318,p199-246). For other sources see at the bottom of the main page on Boudin.

S1859-330, Le Pardon de Sainte-Anne-Palud au fond de la baie de Douarnenez (Finistère)
Debut at the Salon (iR1;R161,p20). Bought by the city of Le Havre for 500fr (R161,p20).
=1858, CR185, SDbl, The Pilgrimage at Sainte-Anne-la-Palud, 78×155, MuMa Le Havre (HW18;R161,p23;R51,p217;R122,no185;R318,no18;M15,B1)

S1861-R:
1861/05/03 Boudin writes ‘a small frame that was refused’ (R318,p200)

S1863-hc, Le Port de Honfleur:
1863/06/03 Jongkind writes to Boudin ‘I have seen your painting; it is well placed and very nice’. 1863/08/13 he writes ‘I have retrieved your painting of the Salon “Le Port de Honfleur”; it is at your disposure.’ (R318,p200)

S1864-214, *Plage aux environs de Trouville
=CR303 (R318,p201;R122,no303)
=EU-1900-C-54, Plage aux environs de Trouville (1864) (à M. Gustave Cahen)
Compare: 1864, CR258, Trouville, beach scene, on wood, 26×48, Orsay (iRx;iR2;iR1;R161,p31;R122,no258;M1) Provenance: Cadart & Luquet; Schoeller.
Boudin very often depicted the beach at Trouville. The provenance of Gustave Cahen in 1900 must make identification more possible. But maybe (1864) was a writing error for (1865), because the painting shown at the Salon of 1865 was owned in 1900 by Cahen.

S1865-252, *Un concert au casino de Deauville
=1865, CR349, SDbr, Concert at the Casino of Deauville, 42×74, NGA Washington (iR6;R161,p42;R318,p201;R122,no349;M21).
Provenance: Gustave Cahen; sale GP1919/05/24-45.
=? EU-1900-C-54, Plage aux environs de Trouville (1864) (à M. Gustave Cahen)
Maybe (1864) was a writing error for (1865).
S1865-253, *La plage de Trouville, à l’heure du bain
Boudin very often depicted the beach at Trouville. This work must also depict people bathing in sea or gething ready for it.
=CR348 (R318,p201;R122,no348)

S1866-223, *La plage de Trouville
Boudin very often depicted the beach at Trouville.
(Bought afterwards for 1.000fr by Cadart?) (R318.p202)
=CR346 (R318,p201;R122,no346)
S1866-224, *Réunion sur la plage
Boudin depicted many gatherings of people on the beach. Often with much similarities. Inditification will be hard.
=CR343 (R318,p201;R122,no343)

S1867-179, *La jetée
Eng.: the jetty. Nl.: de pier.
Boudin more than once depicted a jetty, of Le Havre (see S1868-299), Honfleur and other harbours.
The counting notebooks specified ‘La jetée de Trouville’. (Bought afterwards for 1.000fr by Cadart?) Auctioned HD1868/03/25 and bought by De Bériot. (R318,p202).
Bought afterwards for 1.000fr by Cadart. (R318,p202)
=CR407 (R318,p202;R122,no407)
S1867-180, *La plage
The counting notebooks specified ‘La plage de Deauville’. (Bought afterwards for 1.000fr by Cadart?) Exhibited in 1868 in Le Havre and bought for 350fr by the Société des Amis des Arts of Le Havre. (R318,p202).
=CR403 (R318,p202;R122,no403)
According to Jean Selz now: 1867, SDbl, The conversation (Beach scene at Trouville), on wood, 20×35, private (R161,p49).
I couldn’t find confirmation elsewhere. Boudin made many beachscenes, also at Trouville. The small size and the fact that this painting was made on wood, makes it less likely to have been exhibited at the Salon. The specification ‘Deauville’ lacks. So, I render it as an uncertain option. I hope to find in the future this CR403 and render it as a more likely option.
Note: The ballotage refused him a medal (R318,p202).

S1868-298, Le départ pour le pardon (Finistère)
Pothey (1868/09/12) renders an etch (R265,no20=iR40)
The next painting, made two years later, has resemblance with the etch: 1870, SDbl, Pêcheurs de Kerthor, débarquant de Plougastel, recevant benediction, ?cm, unknown location (iR10;aR25;iR108)
I render a compilation.
S1868-299, La jetée du Havre
=CR436 (R318,p202;R122,no436)
Pothey (1868/07/24) renders an etch and calls it ‘full of air and light, with figures skilfully and spiritually sown’ (R265,no13=iR40).
There is an earlier painting that has much likeness with this etch: 1863-1864, Sbr, Honfleur, the Jetty, 26×40, A2005/02/07 (iRx;iR11;iR15;iR10;iR39); note that it is located in Honfleur.
According to Ebay this is a copy after the exhibited painting: 1868, SDbr, La Jetée du Havre (iR42;iR10)
I render a compilation.
Compare also: 1869, Sbl, La jetée de Trouville, 65×93, BC Glasgow (iR10;iR59;M277)

S1869-286, La plage, à marée basse
Eng.: The beach; low tide.
Note: Boudin made many paintings depicting beaches. But, I assume no.286 and 287 depict a same location at two different tides.
Not identified (R318,p202).
S1869-287, La plage; marée montante
The beach; rising tide.
Note: Boudin made many paintings depicting beaches. But, I assume no.286 and 287 depict a same location at two different tides.
Not identified (R318,p202).

S1870-328, La rade de Brest
Eng.: the harbour / the bay of Brest.
Compare: S1870-180, La rade de Brest; S1872-180, Une rade; S1873-154, Rade de Camaret.
=CR511 (R318,p203;R122,no511)
S1870-329, Pêcheuses de Kérhor (Finistère)
=? 1870, CR525, SDbl, Fisherwoman of Kerhor (disembarking from Plougastel, receiving benediction), 26×40, A2013/06/19 (iR10;aR25;iR108;iR15;iR1;R122,no525)
Compare: S1868-298, Le départ pour le pardon (Finistère).
=CR526 (R318,p203;R122,no526)

S1872-179, Au rivage
Eng.: at the shoreline / waterfront.
A very common title. Boudin often depicted shorelines.
Not identified (R318,p204).
S1872-180, Une rade
Eng.: the harbour / the bay
A very common title. Boudin often depicted bays.
Compare: S1870-180, La rade de Brest; S1872-180, Une rade; S1873-154, Rade de Camaret.
Not identified (R318,p204).

S1873-153, Port de Camaret (Finistère)
=!? EU-1900-C-55, Le port de Camaret (à Mme. Georges Feydeau).
=?? 1872, CR803, SDbr, Camaret harbour, 56×90, Orsay (R17,p281=no113;iR23;R122,no803;M1)
The Musée d’Orsay doesn’t confirm this suggestion. It indicates this painting was once in the collection of Georges Petit and later of Edouardo Mollard, but there are no dates indicated (M1).
Boudin made several paintings of the harbour of Camaret in 1872 (R17,no113).
I found a notation that CR803 was exhibited as SdA1931-2219 (at the Salon d’Automne), but I can’t find the source anymore.
=CR880 (R318,p204;R122,no880)
S1873-154, Rade de Camaret
Eng.: the harbour / the bay of Camaret.
Compare: S1870-180, La rade de Brest; S1872-180, Une rade; S1873-154, Rade de Camaret.
=CR882 (R318,p204;R122,no882)
Claretie reviewed these two works ‘The two seascapes of M. Eugène Boudin, the Port and the Rade of Camaret (Finistère) are quite worthy of this talent, very particular, which sees nature, the sea, the ships, in a kind of special atmosphere and as powdered with a chalky dust. This painting, based on plaster, is not less remarkable.’ (R246,p182).
=? 1873, CR899, SDbl, Le port de Camaret par ciel d’orage, 79×110, MBA Lille (iR23;R318,no59;R122,no899;M17)
Because of it’s size Laurent Manoeuvre suggests it was shown at the Salon (R318,no59).
Provenance: 1874 De Conti (1.000fr); Humbert; sale GP1902/06/20-8.
The museum in Lille doesn’t give information on the provenance, nor the exhibition history (M17)
When my suggestion for CR899 is correct, it wasn’t shown as: EU-1900-C-55, Le port de Camaret (à Mme. Georges Feydeau).

S1874-229, Quai du Portrieux (Côtes-du-Nord)
Eng.: quay of Portrieux.
Not identified (R318,p204).
=?? 1874, SDbr, Portrieux (Saint-Quay-Portrieux), 55×89, MFA Budapest (iR6;iR1;M143)
S1874-230, Rivage du Portrieux
Eng.: at the shoreline / waterfront of Portrieux.
Not identified (R318,p204).
Note: the same title as 1IE-1874-18+19, Rivage de Portrieux (Côtes-du-Nord).
=?? 1874, CR964, The Coast of Portrieux, 85×118, private (iR10;iR6;iR2;iR1;R2,p125;R90II,p3;R122,no964).

S1875-266, Le port de Bordeaux
Eng.: the harbour of Bordeaux.
=EdBA-1899/01/09-30, no.24
=!? EU-1900-C-53, Le port de Bordeaux (à M. Viau; S1875) (R231-1)
=Viau sale DR1907/03/02-04, no.2 (sold for 2.700fr); described: 1875, SDbl, Le port de Bordeaux 1875, on panel, 22,5x41cm; École des Beaux Arts, 1899, no.24; Exposition Centennale 1900, no.53. (iR261)
I render a compilation of this picture and: 1875, SDbr, Le port de Bordeaux, vu du quai des Chartrons, 55×91, MBA Reims (iR23;iR1;M190), which has many similarities.
Another suggestion made:
=?? 1874, CR966, SDbr, Le Port de Bordeaux, 71×102, Orsay (M1;iR10;iR39;iR23;iR1;R161,p62;R138,no68;R122,no966)
=ENSBA-1899-? -> bought by the State.
Note: Laurent Manoeuvre suggests because it’s size this painting was exhibited at the Salon and suggests no.266, because it has the same title. But this picture clearly depicts a quay, so it could also be a suggestion for no.267.
Note: Musée d’Orsay doesn’t affirm it was exhibited in 1875 at the Salon (M1).
Note: Joconde (wrongly) suggests CR966 was exhibited at the 1st ‘impressionist’ exposition in 1874 (iR23).
Note: If the suggestion for CR966 is right, than it wasn’t exhibited as EU-1900-C-53, Le port de Bordeaux (à M. Viau; S1875), because it was bought by the State. The Centennale catalogue clearly indicates that the 1875 Salon is the same picture. So, I don’t think it is a good suggestion.
S1875-267, Le port de Bordeaux, vu du quai des Chartrons
Eng.: the harbour of Bordeaux, view of the dock / platform of Chartrons; see location (iR9).
Not identified (R318,p204).
Joconde suggests: 1875, SDbr, Le port de Bordeaux, vu du quai des Chartrons, 55×91, MBA Reims (iR23;iR1;M190)
In the provenance the names of Vasnier and Mme de Lancie are mentioned (iR23), but not Viau. This would mean it wasn’t exhibited as EU-1900-C-53, Le port de Bordeaux (à M. Viau; S1875). I render it as an uncertain option, untill I find more confirmation.

S1876-236, *La plage de Berck (Pas-de-Calais)
Boudin made several paintings of the beach near Berck.
=CR1148 (R318,p205;R122,no1148)
S1876-237, *L’Escaut, à Anvers (Belgique)
Eng.: The Schelde river at Antwerp (Belgium).
=1876, CR1155, SDbr, The harbour of Antwerp, 69×97, Md Grenoble (iR6;iR23;iR1;R122,no1155;R318,p205;M1;M198)
Suggested by the Musée d’Orsay and others (M1).
There is another version in MBA Lille (79x110cm), which was not exhibited (iR23;M17)

S1877-266, Rotterdam (Pays-Bas)
Boudin made several paintings in Rotterdam. The title doesn’t give further specifications.
Not identified (R318,p205).

S1878-304, Portrieux (Cotes-du-Nord)
Boudin made several paintings of Portrieux.
Not identified (R318,p205).
S1878-305, Piege de Berck (Pas-de-Calais)
Eng.: pitfall at Berck. Note: probably ‘piege’ is a miswritting for ‘plage’ =beach.
Boudin made several paintings of the beach near Berck.
According to Laurent Manoeuvre (R318,no72): 1877, CR1185, SDbr, Plage de Berck à marée basse, 44×73, MBA Reims (iR155;iR10;iR1;R318,no72;R122,no1185;M190). Untill I find further confirmation, I will render it as an uncertain option.

S1879-367, La plage
A very common title. Boudin made many paintings of beaches.
Not identified (R318,p205).

 

Boudin at the Salon des Sociéte des Artistes Français =SdAF:

SdAF-1880-433, La pêche
Additional info: H. 0m,85.- L. 1m,50. ([salle] 28.) Les non exempts dans les salles 12, 13, 15, 17, 19, 23, 26, 27, 28, 29 et à la galerie.
=CR1312 (R318,p206;R122,no1312)

SdAF-1881-260, La Meuse, à Rotterdam
Boudin received a 3rd class medal (R318,p206;R161,p70;R231/iR40).
=1881, CR1548, SDbr, La Meuse à Rotterdam, 85×128, Orsay (iR10;iR127;iR1;R161,p70;R318,p206;R122,no1548;M1)
Suggested by the Musée d’Orsay (M1).

SdAF-1882-336, Sur la Meuse; environs de Rotterdam
Compare: SdAF-1881-260, La Meuse, à Rotterdam.
Not identified (R318,p206).

SdAF-1883-320, L’entrée
Eng.: the entrance. A view of Le Havre.
=CR1724 (R318,p207;R122,no1724)
SdAF-1883-321, La sortie
Eng.: the departure.
=CR1723 (R318,p207;R122,no1723)
Note: Boudin received a 2nd class medal (R318,p207;R161,p73;R231/iR40).

SdAF-1884-316, Marée basse
Eng.: low tide. According to Laurent Manoeuvre (R318,no99): 1884, CR1880, SDbr, (Coucher de soleil à) marée basse, 117×160, MBA Saint-Lô (iR6;iR10;iR1;R122,no1880;R318,no99); bought by the State (1.200fr). The fact that this painting was bought by the State makes the suggestion very plausible.
SdAF-1884-317, Marée haute
Eng.: high tide.
Not identified (R318,p207).
I assume it renders a similar location as no.316. But the given suggestion (CR1880) doesn’t render a location.

SdAF-1885-327, *L’appareillage
Eng.: the equipment.
Note: 1885 onwards Boudin exhibited ‘hors concours’ (iR1).
=?? CR1937 (R318,p208;R122,no1937)
SdAF-1885-328, *La Meuse devant Dordrecht; Hollande
=CR1957 (R318,p208;R122,no1957)

SdAF-1886-302, Un grain
Eng.: a squall; Nl. een rukwind.
Bought by the State, now: 1886, CR2134, SDbr, Un grain (a squall), 117×160, MBA Morlaix (iR6;R122,no2134;R161,p79;R51,p237;R318,p208;iR1).
SdAF-1886-303, Marée basse
Eng.: low tide. Compare SdAF-1884-316.
Not identified (R318,p208).

SdAF-1887-306, Etaples; marée basse
=CR2152 (R318,p208;R122,no2152)
SdAF-1887-307, Un rivage
Not identified (R318,p208).

SdAF-1888-321, Le “bateau pilote”
=CR2198 (R318,p209;R122,no2198)
SdAF-1888-322, Une corvette russe dans le bassin de l’Eure; le Havre
The Russian Corvette in the Eure Docks was bought by the state, now: 1887, CR2195, SDbr, Une corvette russe dans le bassin de l’Eure, Le Havre, 63×88, Orsay (M1); bought by the State and formerly in MBA Agen (M281). I only could find a black and white painting.
To compare I render a coloured painting that is almost similar: 1888, CR1726, Le Havre, A Russian corvette in the Eure basin, 41×56, A2014/11/26 (iR10;iR15;R161,p79) = EdBA-1899-249.

SdAF-1889-324, Retour des barques de pêche; Trouville
=CR2518 (R318,p209;R122,no2518)
SdAF-1889-325, L’avant-port du Havre
Not identified (R318,p209).

 

Boudin at the Salon des Société Nationale des Beaux-Arts =SNBA:

SNBA 1890:
SNBA-1890-107, Bassin de l’Eure au Havre (effet de brouillard).
Not identified (R318,p210).

SNBA-1890-108, La Plage de Scheveninghe (Hollande).
=? CR2634 (R318,p210;R122,no2634)

SNBA-1890-109, Berck (le départ des barques).
=1890, CR2623, SDbl, Berck, le départ des barques, 79×110, MBA Reims (iR6;iR10;iR1;M190;R318,p231;R122,no2623)
Suggested by Laurent Manoeuvre (R318,p231).

SNBA-1890-110, Berck (le retour des barques).
=1890, CR2626, SDbr, Berck (le retour des barques), 79×109, MBA Reims (iR6;iR23;iR1;M190;iR10;R318,no128;R122,no2626)
Suggested by Laurent Manoeuvre (R318,no128).

SNBA-1890-111, Dunkerque (le fond du port).
(Appartient à Mme la baronne Nathaniel de Rothschild)
=CR2573 (R318,p210;R122,no2573)

SNBA-1890-112, Dunkerque (l’entrée du port).
(Appartient à Mme la baronne Nathaniel de Rothschild).
=CR2572 (R318,p210;R122,no2572)

SNBA-1890-113, Vue de Caudebec-en-Caux.
Not identified (R318,p210).

SNBA-1890-114, Coin de ferme (environs de Dunkerque).
=CR2582 (R318,p210;R122,no2582)

SNBA-1890-115, La maison du fermier (environs de Dunkerque)
=? 1889, CR2577, SDbl, La maison du fermier, environs de Dunkerque, 46×65, A2014/02/05 (iR15;iR1;R122,no2577)
I make the suggestion on the similar title and the dating. It is not a title Boudin used more often used. My suggestion is not affirmed by Christies (iR15).

SNBA-1890-116, La plage de Berneville.
=CR2655 (R318,p210;R122,no2655)

SNBA 1891:
SNBA-1891-113, Etretat (falaise d’amont).
Not identified (R318,p211).

SNBA-1891-114, Etretat (falaise d’aval).
=CR2727 (R318,p211;R122,no2727)

SNBA-1891-115, Marée montante (Deauville).
=CR2657 (R318,p211;R122,no2652)

SNBA-1891-116, Marée basse (Trouville).
Not identified (R318,p211).

SNBA-1891-117, Saint-Valery-sur-Somme.
=CR2648 (R318,p211;R122,no2648)

SNBA-1891-118, Le Vieux port de Touques.
=CR2712 (R318,p211;R122,no2712)

SNBA-1891-119, Le Quai au Crotoy (Somme).
=CR2602 (R318,p211;R122,no2602)

SNBA-1891-120, La Plage de Berck (Pas-de-Calais).
=CR2628 (R318,p211;R122,no2628)

SNBA-1891-121, L’Eglise d’Etaples (Pas-de-Calais).
=CR2606 (R318,p211;R122,no2606)

SNBA-1891-122, Le Rivage d’Etretat (Brouillard).
=CR2744 (R318,p211;R122,no2744)

SNBA 1892:
SNBA-1892-140, Beaulieu; La Baie; effet du matin.
=CR2884 (R318,p212;R122,no2884)

SNBA-1892-141, Beaulieu; La Baie des Fourmis.
=1892, CR2885, SDbl, Beaulieu, La baie de Fourmis, 55×90, Metropolitan (iR6;iR35;iR1;R318,p212;R122,no2885;M23)

SNBA-1892-142, Beaulieu; Baie de Saint-Jean.
=CR2886 (R318,p212;R122,no2886)

SNBA-1892-143, Villefranche; La Rade.
Note: Boudin made several works depicting the bay of Villefranche.
=1892, CR2895, SDbr, La Rade de Villefranche, 56×90, MBA Nice (iR6;iR127;iR10;R122,no2895;R318,no139;R161,p81;M1;M206); bought by the state for 2.500fr.

SNBA-1892-144, Villefranche; Le Lazaret.
Not identified (R318,p212).

SNBA-1892-145, Villefranche; Le Quai.
=CR2902 (R318,p212;R122,no2902)

SNBA-1892-146, Villefranche; Vue de la ville.
=CR2890 (R318,p212;R122,no2890)

SNBA-1892-147, Villefranche; Le Fort.
=CR2876 (R318,p212;R122,no2876)

SNBA 1893:
SNBA-1893-130, Vue générale d’Antibes.
=CR3105, suggested by Schmit (R122,no3105), but this work was made 1893/05/18, so after the start of the SNBA (the 10th), but maybe it is dated 1893/03/15. Maybe there is a confusion with CR3074 (R318,p213).

SNBA-1893-131, Juan-les-Pins (Alpes-Maritimes).
Not identified (R318,p213).

SNBA-1893-132, Le golfe Juan.
=CR3073 (R318,p213;R122,no3073)

SNBA-1893-133, Le Port à Antibes.
=CR3081 (R318,p213;R122,no3081)

SNBA-1893-134, Les récifs à Antibes.
=CR3077 (R318,p213;R122,no3077)

SNBA-1893-135, Le quai à Vïllefranche.
=CR2894 (R318,p213;R122,no2894)

SNBA-1893-136, La rue de la Mer à Saint-Vaast (Manche).
=CR2904 (R318,p213;R122,no2904)

SNBA 1894:
SNBA-1894-153, Le rivage de Deauville.
=CR3203, Le rivage de Villerville (R318,p213;R122,no3203).

SNBA-1894-154, La rentrée des barques (Trouville).
Not identified (R318,p213).

SNBA-1894-155, Marée haute à Deauville.
=? CR3147 (R318,p213;R122,no3147)

SNBA-1894-156, Coucher de soleil.
Not identified (R318,p213).

SNBA-1894-157, Rochers de l’Ilette à Antibes.
=CR3085 or 3110 (R318,p213;R122,no3085 or 3110)

SNBA-1894-158, Fortifications d’Antibes.
=CR3089 (R318,p213;R122,no3089)

SNBA-1894-159, Un coup de mistral à Antibes.
=CR3094 (R318,p213;R122,no3094)

SNBA-1894-160, Le rivage de Juan-les-Pins.
Not identified (R318,p213).

SNBA 1895:
SNBA-1895-172, Les fortifications d’Antibes.
=CR3109 (R318,p214;R122,no3109)

SNBA-1895-173, Le fort carré à Antibes.
Not identified (R318,p214).

SNBA-1895-174, Le bassin de la Barre au Havre.
=CR3275 (R318,p214;R122,no3275)

SNBA-1895-175, Le bourg de Touques.
=La place Courbet à Abbeville (R318,p214)

SNBA-1895-176, La place Courbet à Abbeville.
=CR3242 (R318,p214;R122,no3242)

SNBA-1895-177, Marée montante à Deauville (octobre).
=CR3320 (R318,p214;R122,no3320)

SNBA 1896:
Boudin did not send anything to the Salon (R161,p84).

SNBA 1897:
SNBA-1897-143, Le rivage de Deauville (octobre).
Not identified (R318,p215).

SNBA-1897-144, Le marais à Deauville .
=CR3585 (R318,p215;R122,no3585)

SNBA1897-145, Coup de vent devant Frascati (Havre).
=1896, CR3540, SDbl, Coup de vent devant Frascati, Le Havre, 55×91, PP Paris (iR6;iR10;iR1;R318,no163;R122,no3540;M4)

SNBA-1897-146, Un grain de Nord-Ouest.
=CR3503 (R318,p215;R122,no3503)

SNBA-1897-147, Venise (huit études dans le même cadre).
All 8 were in the posthumous catalogue (HD1899/03/20+21) the numbers 43-50. All panels, size 20x40cm (except no.50: 26x40cm). (aR12=iR19,p34)
=CR3378 +3381 +3384 +3379 +3380 +3382 +3383.

 

Boudin at the Exposition Universelle:
Boudin exhibited at the Exposition Universelle in 1889 (including the Centennial) + in 1900 posthumously at the Centennial.

1889, Exposition Universelle d’Oeuvre d’Art (=EU-1889-OdA) (R231-6):
Boudin received a golden medal (R231).
EU-1889-OdA-154, Un coucher de soleil, marine.
I don’t have a suggestion.
EU-1889-OdA-155, Les Lamaneurs.
Eng.: The handlers / the boatmen.
=1887, CR2199, SDbr, Pleine mer (les lamaneurs), 92×132, A2021/04/14 (iR6;iR15;R231;R161,p92;R122,no2199)

1889, Exposition Centennale (1789-1889) (=EU-1889-C) (R231-5):
EU-1889-C-88, Panorama d’Anvers en 1871, vue prise de la Tête de Flandre.
=?? 1871, Anvers, la Tête de Flandres, op, 43×72, Axx (iR10;iR64;iR13;R231-1)
EU-1889-C-89, Les quais d’Anvers en 1871 avant l’établissement des docks (app. à M. Ch. de Bériot)
=?? 1871ca, The Quay at Antwerp, op,49×64, Sheffield GMT (iR6;iR10;M187;R231-5)
EU-1889-C-90, Vue du port de Brest (app. à M. le comte de Douville-Maillefeu)
Bouding made several views of the harbour of Brest.

1900, Exposition Centennale (=EU-1900-C) (R231-1+2):
EU-1900-C-53, Le port de Bordeaux (à M. Viau; S1875)
=!? S1875-266, Le port de Bordeaux.
=? S1875-267, Le port de Bordeaux, vu du quai des Chartrons
Compare: 1875, SDbr, Le port de Bordeaux, vu du quai des Chartrons, 55×91, MBA Reims (iR23;iR1;M190) =? S1875-267, Le port de Bordeaux, vu du quai des Chartrons; Provenance: Vasnier; Mme de Lancie.
Compare: 1874, CR966, SDbr, Le Port de Bordeaux, 71×102, Orsay (M1;iR10;iR39;iR23;iR1;R231-1;R161,p62;R138,no68;R122,no966) =ENSBA-1899-? -> bought by the State; =?? S1875-266, Le port de Bordeaux.

EU-1900-C-54, Plage (aux environs) de Trouville (1864) (à M. Gustave Cahen)
=S1864-214, Plage aux environs de Trouville
Compare: 1864, CR258, Trouville, beach scene, on wood, 26×48, Orsay (iRx;iR2;iR1;R161,p31;R122,no258;M1) Provenance: Cadart & Luquet; Schoeller.
Maybe (1864) was a writting error for (1865). In that case the next work was exhibited:
1865, SDbr, Concert at the Casino of Deauville, 42×74, NGA Washington (iR6;iR1;R161,p42;M21,no1985.64.3) Provenance: Gustave Cahen; sale GP1919/05/24-45.
=S1865-252, Un concert au casino de Deauville.

EU-1900-C-55, Le port de Camaret (à Mme. Georges Feydeau)
=!? S1873-153, Port de Camaret (Finistère).
=?? 1872, CR803, SDbr, Camaret harbour, 56×90, Orsay (R17,p281=no113;iR23;R122,no803;M1)
=? S1873-154, Rade de Camaret.

 

Centennial exhibitions:
Works of Boudin were exhibited at the Centennial exhibition in Saint-Petersbourg in 1912, 3 of them were send in by Durand-Ruel.

Saint-Petersbourg-1912-60. Vue des environs de Rotterdam [View of the Rotterdam Area] [Durand-Ruel in Paris]

Saint-Petersbourg-1912-61. La sortie du port du Hâvre (Exit from Le Havre Harbor] [Durand-Ruel in Paris]

Saint-Petersbourg-1912-62. Retour des barques [Return of the Boats] [Durand-Ruel in Paris]

Saint-Petersbourg-1912-63. L᾿église de Plougastel, aquarelle  [Beurdeley in Paris]

Saint-Petersbourg-1912-64. Une rue à Landerneau [A Street in Landerneau], aquarelle

Saint-Petersbourg-1912-65. L᾿heure de la plage [The Hour of Low Tide], aquarelle

Saint-Petersbourg-1912-66. other medium

Saint-Petersbourg-1912-67. other medium

Saint-Petersbourg-1912-68. other medium

 

Boudin at regional exhibitions:
Boudin exhibited several times at regional exhibitions (iR1).

Toulouse-1864-45, Plage du Havre.
Toulouse-1864-46, Brick anglais sortant du port de Honfleur.

Toulouse-1865-84, Port de Honfleur.
Toulouse-1865-85, Plage de Trouville.

Lille-1866-161, Plage, marée basse.
Lille-1866-162, Plage, marée montante.

Carcassonne-1867-25, Vue de Trouville (Marine)

Le Havre-1868-?,
1868/07/02 – 11/15: Boudin took part in the Exposition maritime internationale in Le Havre; he received a silver medal (R161,p54/5;R22IV,p1016)

Pau-1869-?,
1869: Boudin exhibited in Pau (R161,p55).

Roubaix-1869-?,
1869: Boudin exhibited in Roubaix (R161,p55).

Besançon-1870-53, Marine (iR1)

Marseille-1877-4, Le Port de Trouville.
Marseille-1877-5, Une plage à Trouville.

Mulhouse-1883-53, La plage de Portrieux (côtes du Nord)
Mulhouse-1883-54, Marine.

Toulouse-1885-34, Le fond du bassin à Deauville (Calvados).

Toulouse-1889-49, Laveuses en Normandie.
Notification: 250 francs.
Toulouse-1889-50, Marine.
Notification: 250 francs.

Honfleur-1899: there were posthumous 30 paintings and several drawings shown of Boudin (iR1).

 

Boudin at La Libre Esthétique in Brussels:
A Work of Boudin was exhibited at La Libre Esthétique in Brussels in 1913 (=20LE-1913).

20LE-1913-34. Vue d’Antibes; le coup de soleil

 

 

Recommanded citation: “Impressionism: Eugène Boudin, an account of his exhibited works. Last modified 2025/07/11.  https://www.impressionism.nl/boudin-account/.”