Félix Bracquemond account

 

 

Impressionism, a historical reconstruction:

Félix Bracquemond

(1833-1914)

Account

of his exhibited works

 

Introduction:
On this page you will find an account of the art-works that Félix Bracquemond exhibited at the 1st, the 4th and the 5th ‘impressionist’ exposition, at the Salon , the Exposition Universelle and at other exhibitions.
My main sources are Moffett (1986=R2), Berson (1996=R90), the catalogue of Beraldi (=B=1885 = R85III), the catalogue raisonné (1849-1859) of Bouillon (1987=R52), the book of Rappard-Boon (1993=R73) and the Salon database of Musée d’Orsay (=iR1). For other sources see at the bottom of the main page about Félix Bracquemond. See link for the pictures exhibited with the Impressionists in 1874 + 79 +80 and for the pictures exhibited at the Salon and other exhibitions.
Note: Beraldi renders his etchings classified as portraits (1-97), various themes (98-225), copies of art-works of other artists (226-349), ‘Vignettes’ (350-501), ‘Ex Libris’ (R502-529), ‘Céramiques’ (530-737), Lithographs (738-773) (R85III).

 

Works of Bracquemond at the first ‘impressionist’ exposition in 1874:

General overview:

  • catalogue numbers 23 – 28 = 6
  • no. 23 contained 1 drawing
  • the numbers 24-28 each contained a ‘cadre d’eaux-fortes’ (Eng.: frame with etchings)
  • no.24 containing 12 etchings, all portraits: 6+11=17
  • no.25 six, all copies of paintings by other artists: 17+5=22;
  • no.26 seven, 4 depicting trees: 22+6=28,
  • no.27 five, various etchings: 28+4=32
  • no.28 two, 2 states of a portrait of Erasme: 32+1=33
  • so in total Bracquemond  exhibited 33 art-works;
    • containing 14 portraits, 10 copies and 2 pointe sèches (Eng.: dry point)
    • 3x an indication of place
    • 0x an indication of time, season or weather
    • 3x a study
    • 0x a loan
  • Adhémar (1974=R87,p231/2), Moffett (1986=R2,p119+485), Berson (1996=R90II,p3-5+15-20), Patry/Robbins (2024=R410,p273/4) and Rappard-Boon (R73) and Bouillon (R52) refer to etchings in: Henri Beraldi: Les graveurs du XIXe siècle. Vol.3, Bracquemond. Paris, 1885 (=R85III=aR14). Many works are to be found in the Bibliothèque National de France in Paris (=iR26), the British Museum (=iR105) and in the New York Public Library (=iR61)

Overview suggestions:
The works of Bracquemond are well catalogued by Beraldi (1885=R85III), Bouillon (=R52) and others, but not by Delteil (R138). This combined with the clear titles in the 1874 catalogue, makes that most works can be identified.
No. 24 contained 12 portraits: 1=Beraldi no. 94; 2=B80; 3=B63; 4=B38; 5=B22 (or B23); 6=B66; 7=B73 (73-1 or 73-2); 8=B77 (orB78); 9=B49; 10=B50; 11=B10 (or B11/12/13); 12=B56.
No. 25 contained 6 copies after paintings of other artists: 1=B336; 2=B277; 3=B279; 4=B274; 5=B275; 6=B280-3 or B280-4-1.
No.26 contained 7 etchings, namely landscapes: 1=!?B190 (or =?B122); 2=!?B209 =B123; 3=?; 4=!?B170 =?B128; 5=!?B210 =B188; 6=B183 (183-3 or 183-4-1); 7=B161.
No. 27 contained 5 etchings: 1=B208; 2=b378; 3=B113; 4=!?B158 =?B157 =?B159; 5=B177.
No.28 contained two states of B39.
No.24-9 was earlier exhibited as S1859-3529.
No.25-4 as SdR-1863-658 + S1864-2850.
No.27-3 as EU/S-1855-4602.
No.28 as SdR-1863-657 + S1864-2849.
Note: for all the etchings it is uncertain which state was exhibited, except for no.28 where it is indicated. I assume a state that was more finished, mostly the last state.
No. 23 is the only drawing Bracquemond exhibited of an anonymous portrait. It was 2x positively referred at in the reviews, but not described; no suggestions are given (R87;R2;R90). I assume it was exhibited earlier at the Salon and render an uncertain option.

Reviews:
Burty (1874/04/25) reviewed ’the frames with engravings so masculine and so colourful, so skilful and so free, of M. Bracquemond’. (R90I,p38)
Castagnary (1874/04/29) reviewed ‘As for the engraver, I’ll mention just one name, but it one of a master, M. Félix Bracquemont (sic), the aqua-fortist so well known. His entries contain more than 30 prints, the most first-class and of which some are precious historical documents: the portrait of Auguste Comte, those of Théophile Gautier, of Baudelaire, of Meryon, of Charles Kean, etc.’ (R90I,p16)
Etienne Carjat (1874/04/27) reviewed ‘You would need an extra article, to subscribe, as they deserve, the marvellous engravings of M. Bracquemond.’  (R90I,p14)
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.’ (R90I,p18;R87,p268/9).
E. Drumont  (1874/04/19) remarked ‘Let us not forget the excellent engravings of Bracquemond, accompied by a drawing, a very satisfying portret.’ (R90I,p20)
Ernest d’Hervilly  (1874/04/17) remarked ‘M. Bracquemond and his marvelous engravings, so varied, so flexible, so colourful above all.’ (R90I,p24)
Le Phare de la Loire (1874/04/18) summed up ‘Le portrait and le tombeau of Théophile Gautier; le Tournoi, after Rubens; la Femme couchée, after Manet, by M. Bracquemond’ (iR437).
Léon de Lora (1874/04/18) reviewed ‘M. Félix Bracquemond had several frames filled with marvellous and original engravings.’ (R90I,p26)
Marc de Montifaud (1874/05/01) reviewed ‘This revenue is not complete by here mentioning the engravings of Bracquemond, …’ (R90I,p30).
Giuseppe de Nittis (1874/07/01) reviewed ‘Regarding Bragmond’s (sic) drawing, which is a real pearl, I do not know if it was exhibited because I am currently receiving a company card and I cannot find his name on it.’ (R90I,p32)
Armand Silvestre (1874/04/22) reviewed ‘As for the engravings of M. Bracquemont (sic), I don’t have to praise them. Several are masterpieces.’ (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 numbers:

1IE-1874-23, Portrait (dessin)
The first edition of the catalogue noted ‘2000fr; not for sale’ (R411).
Giuseppe de Nittis (1874/07/01) reviewed in Italian ‘Regarding Bragmond’s (sic) drawing, which is a real pearl, I don’t know if it has been exhibited because I am currently receiving a Society card and I can’t find his name on it.’ (R90I,p32). It’s strange that he doubts it has been exhibited and still calls the drawing a ‘pearl’. Where has he seen it than? Anyway we don’t get a description. Drumont (1874/04/19) reviewed ‘Let us not forget the splendid etchings of Bracquemont (sic), accompanied by a drawing, a very striking portrait.’ (R90I,p21). So at least Drumont has actually seen the drawing at the exposition, he also is positive about it, but doesn’t describe it either. Moffett doesn’t give a suggestion, nor Berson, nor Adhémar / Dayez, nor Patry/Robbins. Some of the etchings Bracquemond showed, had earlier been exhibited at the Salon. So, maybe he also had shown this drawing at the Salon. That leaves us with the following possibilities:
S1852-175, Portrait de Mme M. B…; dessin
S1853-169, Portrait de l’auteur; dessin = S=EU-1855-2619, Portrait de l’auteur, dessin
S1857-373, Portrait de Mme A…, dessin aux trois crayons
S1861-402, Portrait de M. le docteur H. de M…; dessin au pastel
S1865-2321, Tête d’étude; dessin
I skip the last work, because it was not a portrait. The works exhibited in 1852, 1857 and 1861 refer with initiales to a sitter, as the 1874 portrait is anonymous, this is less likely. It pleads most for the portrait of his mother exhibited in 1852, but I can’t find a picture of it. Leaves us with the self-portrait exhibited in 1853 and again in 1855 at the Exposition Universelle. The fact that it was exhibited twice, makes it a better suggestion and also the fact that it was a self-portrait. Anyway, the two reviewers didn’t recognize it as a self-portrait, but both were writing his name wrongly, maybe didn’t know him that well. What speaks against it, is that is was a drawing enhanced with pastel and gold-toned paint. Still, I will render it as the best option. I render also the portrait of Docteur Horace de Montègre, which also is enhanced with pastel. As a very uncertain suggestion I also render a self-portrait: 1860ca, Croquis de Bracquemond, Portrait de l’auteur, dr, 10×17, A2015/11/26 (iR239;iR10); this doesn’t fit the ‘pearl’ of De Nittis.

 

1IE-1874-24, Cadre d’eaux-fortes:

1IE-1874-24-1, Portrait de M. Robert
The first edition of the catalogue noted the asking price 300fr (R411).
Moffett and Berson suggest Beraldi no.94 (R2,p119;R90II,p3). Not mentioned by Bouillon (R52,p227). Now: 1873, B94, Portrait of Louis Robert, administrateur de la manufacture nationale de porcelaine de Sèvres (director of the national porcelain factory in Sèvres), etch, 33×23, Metropolitan +BNF Paris (iR6;R85III,no94;R90II,p15+3). Note: in 1871 Félix Bracquemond workes at this porcelain factory in Sèvres.
=!? SNBA-1907-171-81, Portrait de Louis Robert, administrateur de la Manufacture de Sèvres (iR284).

1IE-1874-24-2, Portrait de M. Meyer Heine
The first edition of the catalogue noted the asking price 300fr (R411).
Moffett and Berson suggest Beraldi no.80 (R2,p119;R90II,p3). Not mentioned by Bouillon (R52,p227). Now: 1872ca, B80, Meyer-Heine, chef émailleur de la manufacture de Sèvres, 22×25, FAM San Francisco (iR61;R85III,no80;R90II,p15). Note: in 1871 Félix Bracquemond workes at this porcelain factory in Sèvres.

1IE-1874-24-3, Portrait de M. Hoschedé
The first edition of the catalogue noted the asking price 300fr (R411).
Moffett and Berson suggest Beraldi no.63 (R2,p119;R90II,p3). Not mentioned by Bouillon (R52,p227). Now: 1871, B63, Hoschedé, d’après nature, etch, 28×11, BNF Paris (iR61;R85III,no63;R90II,p15;R410,p228). Ernest Hoschedé, an important art-collector, is depicted as Lieutenant in the National Guard (during the siege of  Paris) (R85III).
=!? SNBA-1907-171-91b, Portrait de Hoschedé (iR284).

1IE-1874-24-4, Portrait M. Edwards
Moffett and Berson suggest Beraldi no.38 (R2,p119;R90II,p3). Not mentioned by Bouillon (R52,p227). Now: 1872, B38, Edwin Edwards, etch, 16×15, BNF Paris (iR6;R73,p45;R85III,no38;R90II,p15;R410,p117). Edwards was an English painter and etcher, here depicted while busy with engraving (R85III).
=!? SNBA-1907-171-93c, Portrait de Edwin Edwards (iR284).

1IE-1874-24-5, Portrait M. Aug. Comte
Moffett and Berson suggest Beraldi no.22 (R2,p119;R90II,p3). This corresponds with Ae15 in the Bouillon catalogue, but Bouillon doesn’t affirm Moffett’s suggestion (R52,p227+138/9). Now: 1855, B22, Portrait d’Auguste Comte, founder of the religion of humanity (1798-1857), etch, 19(or16)x14, BM London + NYPL (iR105;R85III,no22;R90II,p16;R52,p156). Bracquemond made this etch after a drawing of his teacher Joseph Guichard made in 1850 and now in the Maison Auguste Comte in Paris. Castagnary only mentioned the title (R90I,p16). Note: Beraldi no.23 also depicts Auguste Comte, with his face turned to the left (R85III,no23); this is also suggested by Moffett (R2,p119), I think it is an equal valid option.
=!? SNBA-1907-171-85, Portrait d’Auguste Comte (1851) (iR284).

1IE-1874-24-6, Portrait de M. Ch. Kean
Moffett and Berson suggest Beraldi no.66 (R2,p119;R90II,p3). Not mentioned by Bouillon (R52,p227). Now: 1871, B66, Charles Kean, etch, 23×17 (or14), NYPL (iR6;iR48;R85III,no66;R90II,p16). Also published in 1884, Gazette des Beaux-Arts + in 1891/04, L’Artiste. Kean is depicted drawing on wood (R85III).
=!? SNBA-1907-171-94a, Portrait de Charles Keen (sic) (iR284).

1IE-1874-24-7, Portrait de M. A. Legros
Moffett and Berson suggest Beraldi no.73 (R2,p119;R90II,p3). Not mentioned by Bouillon (R52,p227). I render two versions: 1861, B73-1, Alphonse Legros, etch state 1of2, 32×22, NSW Sydney (iR61;iR6;iR10;R85,no73;R90II,p3;R2,p119) and:1861, B73-2, Alphonse Legros, etch 2of2, 17×12, Metropolitan  (iR10;Mx;iR61;R2,p119;R85,no73;R90II,p16+3;M23).
=!? SNBA-1907-171-91a, Portrait d’Alphonse Legros (iR284).
Alphonse Legros also was a great etcher and exhibited at the 2nd ‘impressionist’ exposition in 1876.

1IE-1874-24-8, Portrait de M. Meryon
Moffett suggests  Beraldi no.78 (R2,p119). This is Aa15 in Bouillon (R52,p36), but he also suggests as option his Aa14 = Beraldi no.77, which was also published in the ‘Gazette des Beaux-Arts’ in 1884/06/01. Berson follows this last suggestion, but also mentions no.78 as possibility (R90II,p3). Castagnary (1874/04/29) only mentioned the work, there is no other review (R90I,p16). I render both options: 1853, Charles Meryon, graveur, etch, 20×15 (or 12×9), private Paris + BNF  (iR61;R52,p35;R85III,no77;R90II,p16) + 1854, Portrait of Charles Meryon, etch, 15×10, Metropolitan (iR6;R85III,no78;R52,p36;R90II,p3).
=!? EU-C-1889-VII-60, Portrait de Méryon, d’après nature, eau-forte (R231-5).
=!? SNBA-1907-171-89a, Portrait de Meryon; appartient à M. Beurdeley (iR284).
=?? SNBA-1907-171-89b, Portrait de Meryon (médaillon); appartient à M. Beurdeley (iR284).

1IE-1874-24-9, Portrait de M. Th. Gauthier
The first edition of the catalogue noted ‘not for sale’ (R411).
Moffett and Berson suggest Beraldi no.49 (R2,p119;R90II,p4). This is the same as Ae45 in the Bouillon catalogue (R52,p227). Now: 1857, portrait de Théophile Gautier, etch, 15×12, BM London + BNF Paris (iR105;R52,p171;R85III,no49;R90II,p16;R410,p117). This etch was made after a photo made by Nadar (iR6). It was also exhibited at the Salon (see below): S1859-3529. Note the (probably miswriting: Gauthier in stead of Gautier. Gautier was a painter, poet, art-critic and novelist (R3,p664;iR3).
=!? SNBA-1907-171-90a, Portrait de Th. Gautier (iR284).

1IE-1874-24-10, Portrait de M. Th. Gautier (le Tombeau)
The first edition of the catalogue noted ‘not for sale’ (R411).
Moffett and Berson suggest Beraldi no.50 (R2,p119;R90II,p4). Not mentioned by Bouillon (R52,p227). It was an etch for a book, now: 1873, Le tombeau de Théophile Gautier, etch, 15×10, BNF (iR10;R85III,no50;R90II,p16). Note the different writing: Gautier in stead of Gauthier.

1IE-1874-24-11, Portrait de M. Baudelaire
The first edition of the catalogue noted ‘not for sale’ (R411).
Moffett suggests Beraldi no.10,11 or 12; Berson renders no.10. (R2,p119;R90II,p4).Bracquemond made 4 portraits of Baudelaire, one after Deroy (Beraldi 11) and one after Courbet (Beraldi 13) (iR61) and two . There also is an etch ‘after his own drawing’ (Beraldi 12). In the catalogue it is often rendered that Bracquemond made a copy after a work of someone else, this makes Beraldi 11 and 13 less likely, Beraldi isn’t even suggested by Moffett. Berson renders Beraldi 10. Now: 1861, B10, Charles Baudelaire, etch, 35×26, NYPL, (iR61;R85III,no10;R90II,p17). Not mentioned by Bouillon (R52,p227). I can’t tell if that one also is an option. Charles Baudelair was a poet and art-critic (iR3).

1IE-1874-24-12, Portrait de Madame Granger (d’après Ingres)
Moffett and Berson suggest Beraldi no.56 (R2,p119;R90II,p4). Not mentioned by Bouillon (R52,p227). Now: 1867, Madame Granger, d’après Ingres, etch, 28×20, FAM San Francisco (iR61;R85III,no56;R90II,p17). I couldn’t find the original of Ingres.

 

1IE-1874-25, Cadre d’eaux-fortes:

1IE-1874-25-1, La Locomotive (d’après Turner; planche non terminée)
Moffett and Berson suggest Beraldi no.336 (R2,p119;R90II,p4). Not mentioned by Bouillon (R52,p227). Now: 1873, B336, Rain steam and speed (after Turner), etch, 21×26, Metropolitan + BNF Paris (M23;R85III,no336;R90II,p17;R410,p116). The original of Turner is in the National Gallery in London (M61).
=!? SNBA-1907-171-111, Étude d’après un tableau de Turner “La Locomotive”, appartient à M. Jacquin (iR19;iR284).

1IE-1874-25-2, Le Lièvre (d’après A. de Belleroy)
Eng.: the hare; Ned.: de haas. Moffett and Berson suggest Beraldi no.277 (R2,p119;R90II,p4). Not mentioned by Bouillon (R52,p227). Now: 1865 or 72, B277, The Hare a Misty Morning (after A. de Balleroy), etch, 17×25, BNF Paris (iR10;R73,p39;R85III,no277;R90II,p17;R410,p118). Note the difference between de Belleroy and de Balleroy. I couldn’t find the original of Albert de Balleroy (1828-73).
=!? SNBA-1907-171-113, Le lièvre, d’après Balleroy (appartient à M. Jacquin) (iR19).

1IE-1874-25-3, Le Divan (d’après Manet)
Moffett and Berson suggest Beraldi no.279 (R2,p119;R90II,p4). Not mentioned by Bouillon (R52,p227). Now: 1863, B279, Young woman reclining, in Spanish costume (as a transvestite) (after Manet), etch, 30×42, New York PL (iR61;iR10;R88;;R2,p119;R90II,p17+4;R87,p232;R85III,no279;R410,p114). See link for the original painting of Manet (iR6).
=!? SNBA-1907-171–109, Jeune femme en costume espagnol, d’après Manet.

1IE-1874-25-4, Le Tournoi (d’après Rubens)
Eng.: the tournament; Ned.: toernooi. Moffett and Berson suggest Beraldi no.274 (R2,p119;R90II,p4). Also exhibited as SdR1863-658 and S1864-2850, see below at the Salon. Now: 18xx, Un tournoi, d’après Rubens, etch, 27×40, BM London (iR10;iR105;R85III,no274;R90II,p17). Not mentioned by Bouillon (R52,p227). See link for the original in the Louvre (M5).
=!? SNBA-1907-171-114, Un Tournoi, d’après Rubens (iR19).

1IE-1874-25-5, La Source (d’après Ingres; Etude de gravure)
The first edition of the catalogue noted not ‘100fr; not for sale’ (R411).
Moffett and Berson suggest Beraldi no.275 (R2,p119;R90II,p4). Now: 18xx, La source, d’après Ingres, etch, 31×16, BNF Paris (iR40;R85III,no275;R90II,p18+4;R410,p115). Not mentioned by Bouillon (R52,p227). See link for the original in Musée d’Orsay (M1).
=!? SNBA-1907-171-105, La Source, d’après Ingres, appartient à M. Ch. Jacquin (iR19).

1IE-1874-25-6, La Servante (d’après Leys)
The first edition of the catalogue noted not ’50fr; not for sale’ (R411).
Eng.: The servant / maid. Moffett and Berson suggest Beraldi no.280 (R2,p119>;R90II,p4). Not mentioned by Bouillon (R52,p227). I render two versions: 1868, B280-3, La servante (after Ley), etch, 25×15, BM London (iR10;iR105;R85III,no280;R90II,p18+4) + 1868, B280-4-1, La servante (after Leys), etch, 14×23, BNF (R90II,p18;iR10;R85III,no280). I couldn’t find the original painting of the Belgian painter Henri (Hendrik) Leys (1815-69), who depicted many historical scenes; see link for some of his pictures.
=!? SNBA-1907-171-110, La Servante, d’après Leys (iR19).

 

1IE-1874-26, Cadre d’eaux-fortes:

1IE-1874-26-1, Les saules
Eng.: the willows. Moffett: Beraldi no.122 or 190 (R2,p119). Beraldi no. 122 corresponds with Bouillon Ab10 (R52,p227+52/3), but Bouillon doesn’t affirm this work has been exhibited in 1874. Beraldi no. 190 is not mentioned by Bouillon (R52,p227), but according to Berson preferred by Bouillon.
=!? 1852-82, B190, Les saules des Mottiaux, etch, 20×30, BNF (iR61;R85III,no190;R90II,p4+18).
At the 2024 exposition ‘Paris 1874’ the following work was suggested:
1854-56ca, B122, Les Saules, etch, 9×10, BNF Paris (HW;R52,noAb10;R90II,p18+4;R2,p119;R85III,no122)
I render it as second more uncertain option.

1IE-1874-26-2, Les arbres de la manufacture à Sèvres
Moffett: probably Beraldi no.209 or 123 (R2,p119). Beraldi no. 209 is not mentioned by Bouillon (R52,p227).
Beraldi no.209 is also suggested by Rappard-Boon and Berson and affirmed by Bouillon:
1873, Étude de paysage, etch, 14×32, BNF Paris (iR10;R85III,no209;R90II,p18;R73,p46).
Beraldi no. 123 corresponds with Bouillon Ab18 (R52,p227+61), but Bouillon doesn’t affirm this work was exhibited in 1874. The title locates this picture in (nearby) Saint Cloud, which makes it a not so good suggestion. Still, I render both options.

1IE-1874-26-3, Les charmes
Eng.: The hornbeam (also: the charms / the spell). Nl.: haagbeuk. Moffett doesn’t give a suggestion, nor does Berson. There are no contemporary reviews. As an uncertain option I render: 1853, B131, Deux gros troncs de charme devant un mur, etch, 34×45, NYPL (iR61;iR10;iR6;R85III,no131;R52,p50). Bouillon doesn’t affirm my suggestion. I assume the french ‘charme’ also means beech; the more common french word is ‘hêtre’.

1IE-1874-26-4, Les bouleaux
Eng.: the birches; Ned.: de berken. Moffett: Beraldi no.128 (R2,p119). This corresponds with Bouillon Ab4, now: 1853, À droite, trois bouleaux sans feuilles, etch, 13×9, private (iRx;R85,no;R90II,p18). But Bouillon doesn’t confirm this work was exhibited in 1874 (R52,p227+49). Berson, supported by a lettre of Bouillon, suggests Beraldi no.170, now: 18xx, B170, Les Bouleaux (Birch trees), etch, 21×15, New York PL (R90II,p18+4;R185III,no170;R2,p119). I render both suggestions. There is no contemporary review.

1IE-1874-26-5, La montée de Bellevue
Eng.: The Bellevue ascent. Moffett: probably Beraldi no.120; perhaps 188 or 210 (R2,p119). Beraldi no.120 corresponds with Bouillon Ab17 (R52,p227+60), which is now: Le pêcheur et les deux enfants, etch, 12×20, xx. But Bouillon doesn’t confirm this work was exhibited in 1874. The picture neither shows an ascending road, so I don’t follow Moffett in this one. Beraldi no. 188 + 210 are not mentioned by Bouillon (R52,p227).
Berson, affirmed by a lettre of Bouillon, suggests: 1873, B210, Le chemin de Bellevue et deux maisons de la rue Brongniar, à Sèvres, etch, 10×32, Virginia MFA + BNF Paris (iR10;R85II,no210;R90II,p18+4;R410,p118). This one I will render.
I also render B188: 1868, B188, La Scierie du Bas-Meudon, ?cm, xx (iR10;iR241;R185III,no188)
=!? S1870-5105 or 5106.
=!? SNBA-1907-171-134b, La Scierie au Bas-Meudon, appartient à M. Beurdeley (iR19;iR284).

1IE-1874-26-6, Le mur (pointe sèche)
Moffett doesn’t give a suggestion. Berson suggests Beraldi no.183, now: 1868, B183, La Seine près de Passy, etch ps, 24×31, BNF Paris + NYPL (iR61;R73,p43;R85III,no183;R90II,p19+4)

1IE-1874-26-7, Les bachots (pointe sèche)
Eng.: the small boats; Ned.: de kleine schuit. Moffett and Berson suggest Beraldi no.161 (R2,p119;R90II,p5). According to Bouillon now: 1858ca, B161, Les Bachots au bord de la Seine, etch ps, 25×35, BNF Paris (R52,Ab28,p73;R73,p37;R85III,no161;R90II,p19+5).

 

1IE-1874-27, Cadre d’eaux-fortes:

1IE-1874-27-1, Le chemin du parc
Moffett: perhaps Beraldi no.208 (R2,p119), affirmed by Berson. Not mentioned by Bouillon (R52,p227). Now: 18xx, B208, The road in the parc, etch, 22×23, BNF Paris (R90II,p19+5;R85,no208;R2,p119).

1IE-1874-27-2, Frontispice pour les Fleurs du mal
The first edition of the catalogue noted ‘not for sale’ (R411).
Moffett: Beraldi no.378 (R2,p119); confirmed by Berson. Not mentioned by Bouillon (R52,p227). Now: 1861, B378, Unpublished frontispiece for Baudelaire’s Les Fleurs du Mal, etch 18×12 (or 8×5), Metropolitan + BNF Paris (iR6;R73,p37;R85III,no378;R90II,p19+5;R410,p143). Note there are two  states; I render them both.
Note: Bracquemond also depicted Baudelaire, see 1IE-1874-24-11↑.
=!? SNBA-1907-171-166b, Les “Fleurs du mal”du Baudelaire; (Frontispice non publié).

1IE-1874-27-3, Margot la critique
Moffett: Beraldi no.113 (R2,p119) and confirmed by Berson. This corresponds with Bouillon Ac4, now: 1854, Margot la Critique (une pie), etch, 23×20, Metropolitan + FAM San Francisco (R52,p227+86-8;R85III,no113;R90II,p19+5). Bouillon affirms this work was exhibited in 1874 and also earlier at the Exposition Universelle
=EU-1855-4602.
=!? SNBA-1907-171-145a, Margot la critique (iR284).

1IE-1874-27-4, Bois de Boulogne
Moffett: Beraldi no.157, 158 or 159 (R2,p119). Berson and Bouillon suggest no.158, now: 1857, Le Bois de Boulogne (les cascades), etch, 16×12 (or 55×35), Metropolitan + BNF  (Mx;R85III,no158;R90II,p19;R52,p65). There was no specific review for this number. So I also render Beraldi 157 and 159 as uncertain options: 1858ca, B157, Le Lac du Bois de Boulogne, etch, 15×20, Metropolitan (iR6,R52,p70;R85,no157;R90II,p5;R2,p119;M23); and:
1857, B159, Extrémité du lac du Bois de Boulogne avec la cascade, etch, xx, xx (iR61;R85III,no159;R2,p119;R90II,p5).

1IE-1874-27-5, La mort de matamore (Capitaine Fracasse)
Eng.: the death of the bluffer. The first edition of the catalogue noted ‘not for sale’ (R411).
Moffett: Beraldi no.177 (R2,p119), affirmed by Berson. Not mentioned by Bouillon (R52,p227). Now: 1852-82, B177,  La mort de Matamore (sujet tiré du Capitaine Fracasse), etch, 16×23, BNF (iR61;R85III,no177;R90II,p20). Probably after the novel Capitaine Fracasse (1863) of Théophile Gautier (see also no.1IE-1874-24-9↑).

 

1IE-1874-28, Cadre d’eaux-fortes :

1IE-1874-28-1, Portrait d’Erasme (D’après Holbein); premier état
The first edition of the catalogue noted ‘500fr; not for sale’ (R411).
=!? SNBA-1907-171-96a, Erasme d’après Holbein; 1er état (iR284).

1IE-1874-28-2, Portrait d’Erasme (D’après Holbein); état définitif
The first edition of the catalogue noted as asking price ’50fr’ (R411).
Moffett: Beraldi no.39 (R2,p119). Not mentioned by Bouillon (R52,p227). Also shown as SdR1863-657 and S1864-2849 see below at the Salon. I render: 1863, Didier Erasme, etch 1st state, 39×30 (or25x20), Louvre (iR10;iR48;iR42;R85III,no39;R90II,p20+5) and: 18xx, Didier Erasme, print, last state, 39×30 (or 25×20), Louvre + BNF (iR10iR42;R85III,no39;R90II,p20+5). The original painting of Hans Holbein the younger (1497-1543) of Erasmus  writing is in the Louvre (M5). Desiderius Erasmus of Rotterdam (1467-1536) was a Dutch Humanist philosopher (iR3).
=!? SNBA-1907-171-96b, Erasme d’après Holbein; dernier état (iR284).

 

Works of Bracquemond at the 4th ‘impressionist’ exposition in 1879:

General overview:

  • catalogue numbers 3 – 6
  • so in total Bracquemond exhibited 4 works ;
    • all of them eau-forte (Eng.: etchings)
    • 2 of them published in the journal l’Art
    • 2x an indication of place
    • 1x an indication of time, season or weather
    • ox a study
    • 0x a loan
  • Moffett (R2,p266+485) and Rappard-Boon (R73) and Bouillon (R52) refer to etchings in: Henri Beraldi: Les graveurs du XIXe siècle. Vol.3, Bracuemond. Paris, 1885 (=R85=aR14). See also Berson (R90II,p105+121/2).

Overview suggestions:

 

Reviews:

 

The catalogue numbers:

4IE-1879-3, Au jardin d’acclimatation (eau forte imprimée en couleurs)
Eng.: at the garden of acclimatization. Moffett: Beraldi no.214 (R2,p266), affirmed by Berson. Not mentioned by Bouillon (R52,p227). According to Berson and Rappard-Boon: 1873, Au Jardin d’Acclimatation, etch colour, 20×21, Metropolitan + BNF (iR6;R73,p47;R85III,no214;R90II,p121+105).
=!? SNBA-1907-171-139, Au jardin d’acclimation (couleur); appartient à M. Jacquin (iR19;iR284).

4IE-1879-4, Une nuée d’orage (eau forte)
Eng.: a storm cloud. Moffett: Beraldi no.219 (R2,p266). Not mentioned by Bouillon (R52,p227).
According to Berson and Rappard-Boon: 1878-87ca, The Storm Cloud, etch, 26×36, Metropolitan + BNF (iR6;R73,p49;R85III,no219-6;R90II,p121+105).
=!? SNBA-1907-171-135, La Nuée d’orage; appartient à M. Beurdeley (iR19;iR284).

4IE-1879-5, Une terrasse de Sèvres (eau forte publiée par le journal l‘Art)
Moffett: Beraldi no.215 (R2,p266). Not mentioned by Bouillon (R52,p227). According to Berson and Rappard-Boon: 1876, Terrace of the Villa Brancas (in Sèvres), etch, 25×35, CAI Williamstown + FAM San Francisco (iR6;R73,p48;R85III,no215;R90II,p121+105). It depicts his wife Marie Bracquemond drawing her sister.
=!? SNBA-1907-171-127, La Terrasse de la villa Brancas (iR284).

4IE-1879-6, Une vue de pont des Saints-Pères (Eau forte, publiée par le journal l’Art)
Moffett: Beraldi no.217 (R2,p266). Not mentioned by Bouillon (R52,p227). Berson and Rappard-Boon suggest: 1877, Vue du Pont des Saints-Pères , etch, 20×25, BN Paris + FAM San Francisco (iR10;R73,p48;R85III,no217-3;R90II,p121+105)
=!? SNBA-1907-171-130a, Vue du pont des Saints-Pères (iR19;iR284).

 

 

Works of Bracquemond at the fifth ‘impressionist’ exposition in 1880:

General overview:

  • catalogue numbers 4 + 5
  • no4. was a charcoal drawing on canvas
  • no.5 contained probably 25 prints of etchings
  • so in total Bracquemond exhibited probably 26 works ;
    • one of them was a portrait (no.4)
    • 0x an indication of place
    • 0x an indication of time, season or weather
    • ox a study
    • 0x a loan
  • Moffett (R2,p310+318), Berson (R90II,p145+159) and Rappard-Boon (R73) and Bouillon (R52) refer to etchings in: Henri Beraldi: Les graveurs du XIXe siècle. Vol.3, Bracquemond. Paris, 1885 (=R85=aR14).
  • See link for the pictures.

Overview suggestions:

 

Reviews:

 

The catalogue numbers:

5IE-1880-4, Portrait de M. Ed. de Goncourt
Mantz (1880/04/14) reviewed ‘a drawing in black pencil, lovingly finished’ (R2,p318). Goetschy (1880/04/06) reviews ‘a beautiful portrait of Edmond de Goncourt, a drawing destined to be engraved.’ (R2,p318). Véron reviews in L’Art ‘… using pencil on rough-grained paper’ (R2,p318). So it is clear it must be a drawing. Artcurial writes ‘The composition and décor were set out in advance in a detailed preparatory drawing (exhibited in 1880) (iR201).
According to Moffett now in the Cabinet des Dessins in the Louvre (R2,p318), affirmed by Berson. Now: 1880, SDbr, (Portrait d’) Edmond de Goncourt (la main droite tenant une cigarette), stump+charcoal on canvas, 55×38, Orsay (M1;M5a;iR6;R2,p318;R85,no54-8;R90II,p159+145). (Note the difference between ‘charcoal’ and ‘black pencil’.) This is the only image that Moffett renders of Félix Bracquemond (R2,p318), Berson also depicts it (R90II,p159).
Bracquemond maybe also exhibited this drawing as ‘2XX-1885-1, Edmond de Goncourt (unknown medium; see below); but more likely he showed the engraving. Compare exhibited engravings: SdAF-1881-4603, Une gravure: Edmond de Goncourt (->1st class medal); EU-OdA-1889-cl.5-2374, Une gravure (eau-forte): Portrait de M. Edmond de Goncourt (S.1881); EU-C-1900-2275, Portrait d’E. de Goncourt; eau-forte originale.
Félix Bracquemond and Edmond de Goncourt were life long friends (R88).

5IE-1880-5, Eaux-fortes pour décoration de services de faïence et de porcelaine
Eng.: Etchings for decoration of earthenware and porcelain services. Moffett doesn’t make a suggestion. Berson leaves the works unidentified. She mentions that Laurent d’Albi suggests the Rousseau service of 1866 and also mentions as options the porcelain Animals of 1878ca, the Parisian service of 1875 and the Barluet service of 1879. Gabriel Weisberg opposes the suggestion of the Rousseau Service, emphasising the fact that Huysmans refers to Hokusai in his review. (R90II,p145).
What do the reviews say? Burty (1880/04/10) reviews ‘He lives on the outskirts of the town and is only known for his series of etchings.  He has chosen in his cardboard boxes about twenty of these subjects of birds, flowers and ornaments, which he improvises and writes on copper with such originality. This is not one of the least curiosities of this exhibitition.’  (R90I,p270). Paul Mantz (1880/04/14) reviews ‘M. Bracquemond also exhibits a series of etchings, types of ornament that he has so fortunately applied to earthenware decoration. We remember that the ingenious artist brought, some years ago, an element of cheerfulness to the monotony of our meals. He did not want to allow the cooks, too faithful to tradition, to serve us our pastry in white plates.  He then invented, to the delight of colourists, a dish joyfully decorated with cocks, ducks, insects and flowers with a charming baroque effect. These faiences, of an exalted Japonism, made the happiness of many witty people.  We have here, in the form of firmly written engravings, the models or replicas of these decorations imagined by M. Bracquemond for the usual ceramics.  These etchings are of the happiest kind.’ (R90I,p298). Silvestre (1880/04/24) reviews ‘There is nothing more amusing than his decorative etchings, which have the unexpected poetry of Japanese paintings with I don’t know what kind of Gauls in their allure.  (R90I,p307). Uysmans (1883) reviews ‘neglecting a series of etchings on china intended to decorate a dinner service, curious, it is true, but almost absolutely taken from Okou-Saï’s albums.’  (R90I,p290). Tout-Paris (1880/04/02) talks about ‘etchings in a japonese style’ (R90I,p312). Un Passant (1880/04/03) mentions ‘a serie of etchings: animals, flowers, insects, etc’ (R90I,p304). Gustave Goetschy (1880/04/06) talks about ‘curious decorative fantasies’ (R90I,p283). André Michel (1880/04/09) about ‘an original fantasy’ (R90I,p299). Elie de Mont. (1880/04/20) reviews ‘M. bracquemond, his father or his brother, sent a quantity of Japanese subjects for decoration of very ingenious, if original, dinner services.’ (R90I,p302). Ephrussi (1880/05/01) reviews ‘The same artist exhibits a series of etchings of rare precision, inspired by Japanese drawings and serving as models for the decoration of earthenware.’ (R90I,p279). Some other reviews don’t give a description.
So we must look for a quantity of about twenty etchings, for the decoration of a dinner service, with series of birds, flowers, ornaments, cocks, ducks, insects, animals. All influenced by Japonism, if not copied from Okou-Saï and rendered with great fantasy. The famous Rousseau dinnerware was inspired on Hokusai (but not only; R73,p15); cockerels and ducks are often used as motive (R73,p42), but also birds and flowers (R73,p13+14); beside bigger motives there were smaller motives of plants and insects at the edges (R73,p12). All this pleads for the Rousseau dinner service. It is striking that none of the reviews write about fish, also an important motive in the Rousseau dinnerware (R73,p15-17). Also striking is that none mentions the well known name of the Rousseau dinner service, which was exhibited at the Exposition Universelle of 1867 and received positive critis (R73,p11). Also striking is that Bracquemond didn’t exhibit more recent work, like the Haviland dinner service from 1879, which contained mainly flower themes (iR10;iR15;aR4-6), so I don’t think this is an option for 5IE-1880-5. People in those days could choose their own selection of the more than 200 pieces (R73,p17+55).  The Bibliothèque National de France in Paris renders 25 etchings with ‘Motifs pour le décor d’un service de table en faïence de la maison Rousseau’ (Motifs for the decoration of an earthenware dinner service from the house of Rousseau) (aR9=iR40). Beraldi renders them as number 530-554 (R85=aR14). So I assume that Bracquemond exhibited them all. It would be strange that he left out some of them, what would correspont more closely to the ‘around 20′ that Burty mentions. Monneret writes he exhibited 5 etchings, what doesn’t correspond the reviews (maybe she is mistaking with the catalogue number). I will render all the plates with english titles. Note: On one plate Bracquemond rendered several motives.

 

Works of Félix Bracquemond at the Salon and other exhibitions:
Félix Bracquemond did make his debut at the Salon at the age of 19 (?). In the following years he was excepted: 1852, 1853, 1855, 1857, 1861, 64, 65, 66, 67, 68, 69, 70 and 72. The 1855 Salon was part of the ‘Exposition Universelle’. In 1863 he was rejected and joined the Salon des Refusés. In the following years there was no Salon: 1854, 1856, 1858, 1860, 1862, 1871. In 1866 he received a price for a portrait. In 1867 Félix Bracquemond won a prize for his Rousseau faïence. In 1868, 1869 + 1870 he was exempted from the Jury judgement. In the following years he was rejected or did not admit: 1873-1880. In 1874, 1879 and 1880 he joined the ‘impressionist’ expositions. In 1881, 82, 84, 86, 87, 89 he exhibited ‘hors concours’ as a member of ‘la Société des artistes français’ (iR1,n/235253). In 1891 Félix Bracquemond has left the Société des artistes Français and is mentioned as ‘Fondateur de la Société nationale des Beaux-Arts’. Later on his son Pierre-Jacques as an ‘associé’ will also exhibit in 1898, 1899, 1902, 1906, 1907 and 1909. And in 1907 (his son?) Emile-Louis also exhibits (iR1,n/332266). In 1907 there was a special exhibition held with works of Félix Bracquemond.
The Salon catalogue indicates that Joseph-Félix Bracquemond was born in Paris and a pupil of Joseph Guichard(-Lagrenée).
In 1852 he lived at Rue de Varennes, 63 (iR1,n/174858),
in 1853 + 1855 in Passy, Rue des Moulins, 35 (iR1,n/174858+n/36368).
In 1857 he lived at Rue de Suresnes, 63 (iR1,n/48315).
In 1859 he lived in Passy in the Rue des Tournelles, 11 (iR1,n/180003).
In 1861 + 1864 Bracquemond lived in in Paris at the Boulevard des Invalides, 4 (iR1,n/110763+n/55981).
In 1865 + 66 he lived at the Rue du Bac, 142 (iR1,n/64113+n/183538).
In 1867 + 68 at the Rue Oudinot, 23 (iR1,n/186409+n/186958).
In 1869 at the Rue d’Assas, 116 (iR1,n/194813).
In 1870 at the Rue de l’Université, 19 (iR1).
In 1872 he gave as his adres ‘à la manufacture de Sèvres’ (iR1).
In 1874 11, Villa Brancas, à Sèvres, Seine-et-Oise (R2,p119). Note: I assume this number ’11’ was a miswriting for no.13.
In 1879 + 1880 + 1886 Félix and his wife Marie Bracquemond lived at 13, Rue de Brancas à Sèvres (R2,p266+310+443).
In 1881, 82, 84, 85, 86, 87, 89, 91, 92, 93 his adress was Sèvres, Rue de Brancas, 13 (iR1,n/235253).
My most important source is the database of the Musée d’Orsay (=iR1). When I refer to a page I add for example ‘n/195834’ = http://salons.musee-orsay.fr/index/notice/195834. My other main source is the catalogue raisonné (1849-1859) of Jean-Paul Bouillon (1987=R52), the book of Rappard-Boon (=R73), Monneret (R88I) and the catalogue of Beraldi (R85=aR14).

 

Works exhibited at the Salon (=S):
Félix Bracquemond exhibited regularly at the Salon (=S) from 1852 till 1872, namely in 1852 +1853 +1857 +1859 +1861 +1864 +1865  +1866 +1867 +1869 +1870 +1872. In 1863 he was rejected and joined the Salon des Refusés (=SdR). It is unclear if he was rejected in 1873, anyway he didn’t join the Salon des Refusés that year and joined the 1st ‘impressionist’ exposition in 1874. He would do so again in 1879 and 1880. All these years he didn’t exhibited at the Salon. In 1881 again he exhibited at the successor the Salon de la Société des Artistes Français (=SdAF).
In 1855 and 1867 Bracquemond joined the Exposition Universelle↓.
See link for the pictures.

S1852-175, Portrait de Mme M. B…; dessin
In 1852 Félix Bracquemond made his debut at the Salon with a pastel portrait of his grandmother (R73,p7).
=EU-C-1889-II-64, La lecture de la Bible, pastel (app. à M. E. May);
= 1851, SDtl, Portrait de ma grand-mère (La lecture de la Bible), pastel, 76×63, Orsay (M1;iR10;iR1;iR19;R231)
=!? EU-C-1900-744, Une femme âgée et trois enfants; dessin rehausée (1851) (appartient à M. Ernest May)
=!? SNBA-1907-171-15, Portrait de ma “Grand’Mère”; appartient à M. May.

S1853-169, Portrait de l’auteur; dessin
Now in the Harvard museum in Cambridge (iR1; notice/60189). Now: 1853, Autoportrait en aquafortiste (Self-portrait as an etcher), drawing enhanced with pastel and gold-toned paint, 93×68, Harvard Cambridge (iR10;iR135;iR1;R73,p7;R52,p8;R85III,no1;M32). Note: the difference between dessin and drawing enhanced with pastel and gold-toned paint. Félix Bracquemond did portray himself surrounded by objects that refer to his profession of engraving, such as a bottle of acidic acid (R73,p7). In 1878 Rajon made an etch after this ‘dessin’, which was published 1878/03/31 in the journal L’art, it accompanied an article of Philippe Burty on Bracquemon. Beraldi described this etch: ‘his left (hand) holding an etching bottle. At the bottom, a copper plate, a hand vice (Nl. bankschroef) and an engraving needle.’ (R85III,no.1)
=!? SNBA-1907-171-12, Portrait de l’Auteur (1853) (appartient à Mme Mary Davis (Londres)

Note: the Salon of 1855 coincided with the art exhibition at the Exposition Universelle in 1855↓ or was cancelled for that reason.

S1857-373, Portrait de Mme A…, dessin aux trois crayons
Eng.: Portrait of Madame A…, drawing with 3 pencils.
I have no suggestion.

S1859-3529, Portrait de M. Th. Gauthier; eau-forte
Now: 1857, portrait de Théophile Gautier, etch, 16×12, BM London (R52,p171). This etch was made after a photo made by Nadar. Note: the Salon database (iR1) doesn’t mention Bracquemond did exhibit in 1859 in an overview searching by ‘Bracquemond’.
Also exhibited as 1IE-1874-24-9.
=SNBA-1907-171-90.

S1861-402, Portrait de M. le docteur H. de M…; dessin au pastel
Eng.: Portrait of Mr. Doctor H. de M…; pastel drawing.
= 1860, Portrait du Docteur Horace de Montègre, pastel, 59×45, Orsay (iR10;iR127;iR1;R231;R88;M1)
=EU-C-1889-II-63, Portrait du Dr. H. de Montègre, pastel (app. à M. Michel Colombari) (-> Officier Legion d’Honneur)
=? EU-C-1900-2469+hc, Portrait du Docteur Horace de Montègre.
=SNBA-1907-171-14, Portrait du Docteur Horace de Montègre (appartient à Mme. Ferrari); (Ce dessin à figuré à l’Exposition Centennale de 1900, à Paris.) (iR19;iR284)

SdR-1863-657, Le portrait d’Erasme, d’après Holbein, eau-forte
It was owned and commissioned by the minister of State (Commandée par le ministère d’Etat’; iR1,n/195834).
Now: Portrait d’Erasme (d’apres Holbein), 18xx, Didier Erasme, print, 39×30, Louvre (iR10iR42). (=S1864-2849 + 1IE-1874-28). It was strange that this official commission to copy this famous painting from the Louvre was refused (R73,p8). One year later it was excepted.
=S1864-2849, Portrait d’Erasme, d’après le tableau de Holbein, du Musée du Louvre; eau-forte.
=1IE-1874-28
=EU-C-1889-VII-59, Portrait d’Erasme, d’après Holbein, gravure (Chalcographie du Louvre);
=EU-C-1900-2274, Portrait d’Erasme, d’après Holbein, gravure.

SdR-1863-658, Le tournoi d’après Rubens. Eau-forte
Probably: 18xx, Un tournoi, d’après Rubens, etch, xx, BM London (iR10).
=S1864-2850
=1IE-1874-25-4
=!? SNBA-1907-171-114, Un Tournoi, d’après Rubens.

S1864-2849, Portrait d’Erasme, d’après le tableau de Holbein, du Musée du Louvre; eau-forte
See SdR1863-657
S1864-2850, Le Tournoi, d’après le tableau de Rubens, du Musée du Louvre; eau-forte
owned by ‘le ministère de la Maison de l’empereur et des beaux-arts’ (iR1,n/55981)
See SdR-1863-658

S1865-2321, Tête d’étude; dessin
Eng.: study of a head.
S1865-3247 Tête d’étude; eau-forte
Eng.: study of a head.
I have no suggestions.

S1866-252 Portrait de Mme P. M…
Note: his name is wrongly spelled as ‘Braquemond’. This is one of his few oil paintings. Now: 1866, Portrait of Mme Paul Meurice, 126×100, MNC Compiègne (R73,p25;M200). Rappard-Boon mentions Bracquemond received his first and only medal (for painting) for this work (R73,p8+25;iR1,S1867). Probably it was a sort of 3rd class medal.
=SNBA-1907-171-1, Portrait of Mme P. Meurice (1866) (appartient au Musée du Luxembourg.
It was once owned by Paul Meurice and entered the Musée du Luxembourg 1906/07/12 (M200).

S1866-3099, Deux gravures à l’eau-forte, même numéro:
S1866-3099-1, Portrait d’homme.
Eng.: Portrait of a man.
I have no suggestion.
S1866-3099-2, Canard sauvage
Bouillon suggests with an ‘?’: 1855-60ca, B142, L’étang, etch, 18×28, British Museum London (R52,p103=noAc20), but these ducks don’t seem very wild.
This is different with B116, Le Canard (Le journal), which was shown in 1863 in Lyon.

S1867-202, Portrait de M. A. Vacquerie
It is mentioned that Bracquemond received a medal in 1866 (iR1,n/184033).
=!? SNBA-1907-171-2, Portrait de Monsieur A. Vacquerie (appartient à Musée de Caudebec-en-Caux).
=!? 1867ca, Auguste Vacquerie, dr, 35×22, A2024/10/09 (iR10;iR11;aR23=iR224;aR19=iR201;iR1;iR284)
Compare: 1867, Auguste Vacquerie, etch, xx, NYPL (iR61;iR10;iR48;iR1;iR284)

S1867-2577, Gravures à l’eau forte, d’après les dessins de M. Bida; même numéro
Eng.: Etchings, based on Mr. Bida’s drawings; same number. The catalogue (iR1,n/186409) indicates the etchings were made for ‘les evangiles‘ (Eng.: gospels). It is not clear how many etchings were shown.
Beraldi mentions 14 pieces of which 1 was not published (R85III): The Blanton museum of art in Austin mentions the several etchings after Alexandre Bida (from Les Sainte Evangiles):
R85III,no.464, Le départ pour l’Égypte;
R85III,no.465, Vocation des pêcheurs; =? The vocation of Saint-Matthew (1873) (M233);
R85III,no.466, La mère et les frères de Jésus;
R85III,no.467, La Chananéenne; The woman of Canaan (1873) (M233).
R85III,no.468, Madeleine et Marie au tombeau; =?? Raiseth a young child from death (1873), see M233/4072.
R85III,no.469, Conseil des prêtres et des hérodiens; =?? The hypocrite (1873) (M233).
R85III,no.470, Jésus guérit une femme; Healeth a woman (1873) (M233).
R85III,no.471, Guérison d’un jeune possédé; =Christ healing the possessed boy (1867-73ca), see M233//8850;
R85III,no.472, Jésus s’entretient avec les docteurs; Jesus entering with doctors (1873) (M233).
R85III,no.473, Saint Jean au désert; Saint John the baptist in the wilderness (1873) (M233).
R85III,no.474, Jésus en prières; Jesus in prayer (1873) (M233).
R85III,no.475, Le Pharisien et le Publicain; =? The temptation of Christ (1873) (M233).
R85III,no.476, Pierre va au devant de Jésus; Peter goes before Christ (1873), See M233/4071.
R85III,no.477, Jésus marchant sur les flots (planche inédite).
Note: Célestin François Nanteuil (1813-73) also made a serie after Bida (M233//4101)
I only render R85III,no.471.

S1868-337, Portrait de M. E. H…
Eng.: Portrait of M. E.H… Probably Edmond Hédouin (R88). I could not find a picture, nor further information. Photey, probably referring to this work, wrote ‘A very small portrait, full-bodied, solid, with a superb drawing’ (R265,no16=iR40).
I couldn’t find a picture.

S1868-3990, Sept gravures à l’eau-forte, même numéro (Sujets divers pour la Gazette des Beaux-Arts, le Musée universel, etc.)
Eng.: Seven etchings, same number (Various subjects for the Gazette des Beaux-Arts, the Musée universel, etc.). According to the Annuaire of 1870 in La Gazette Bracquemond received a price for etching (R259). Photey rendered the frontispiece of l’Illustration Nouvelle ’the magnificent publication by Misters Codart and Luce’ (R265,no16=iR40).
=1868, B181, Frontispiece for ‘L’illustration Nouvelle’ (1868/08/14), etch 2of3, 24×16, Metropolitan (R265,no16=iR14;iR1;R85III,no181;R259;M23)
Bracquemond received a medal (for etching) (R231/iR40). Probably it was a sort of 3rd class medal.

S1869-318, Don Juan et le pauvre. (Molière. -Don Juan ou le festin de Pierre. – Acte 3, scène 2)
Eng.: Don Juan and the poor man. (Molière. -Don Juan or Peter’s Feast. – Act 3, scene 2). One of his rare paintings.
=!? SNBA-1907-171-6, Don Juan et le Pauvre (peinture) (iR19).
Compare: 1869ca, B753-1, Don Juan and the poor man, litho, 22×26, NYPL (iR10;iR61;iR1;R85,no753)
=!? SNBA-1907-171-153, Don Juan, acte III, scène II (lithographie) (iR19).
=B753, Salon de 1869, “Don Juan et le Pauvre”, tableau de M. Félix Bracquemond (R85III,no753).

S1869-2552, Gargantua sur sa jument; aquarelle
Eng.: Gargantua on his mare; Nl. op zijn merrie; watercolour.
=!? 1869, Gargantua and His Mare at the Ford of Vede, wc+g, 28×15, RISD Providence (M152;iR10;iR1)
S1869-2553, La rencontre de Pantagruel et de Panurge; aquarelle
Eng.: The meeting of Pantagruel and Panurge; watercolour.
Maybe: 18xx, How Pantagruel found Panurge (whom he loved all his life), wc+g, xx, xx (iR48;iR10;iR1)

S1869-3909, Deux eaux-fortes; même numéro :
The catalogue (iR1,n/194813) mentions they were made for ‘La Gazette des Beaux-Arts‘.
S1869-3909-1: 1° Maison rustique, d’après I. van Ostade.
Eng.: Rustic house, after I. van Ostade
S1869-3909-2: 2° Vaches au repos, d’après Albert Cuyp
Eng.: Cows at rest, after Albert Cuyp.
Probably now: 1869, Vaches au bord de l’eau (after Aelbert Cuyp), etch, xx, NYPL (iR10;iR6;iR61).

S1870-5105, Deux gravures à l’eau-forte; même numéro: Vues prises au Bas-Meudon
S1870-5106, Deux gravures à l’eau-forte; même numéro: Vues prises au Bas-Meudon
Eng.: Two etchings; same number: Views taken in Bas-Meudon.
An option may be: 1868, B187, La Seine à Bas Meudon, etch, 16×23, Metropolitan (iR6;M23;R85III,no187).
And also: 1868, B188, La scierie du Bas Meudon (the sawmill), etch, xx, xx (iR10;iR241;iR6;iR1;R90II,p4;R2,p119;R185,no188)

S1872-1946, Seize eaux-fortes destinées à une édition de Rabelais
Bracquemond showed 16 etchings he made for an edition of the French Renaissance writer Francois Rabelais. The images include an etched portrait of Rabelais (M23) and 15 scenes (R85III,nos.441-455) taken from Rabelais his series ‘The Life of Gargantua and of Pantagruel’ (French: Papegaut + Panurge) (1532-1564) (iR294; see also).
The plates have the following (translated) titles (see):
1. On the adolescence of Gargantua,
2. How the monk of Seuillé saved the abbey wall from the sack of the enemies,
3. The speech made by Gallet to Picrochole,
4. This pedant pissed to relieve his stomach,
5. How Pantagruel found Panurge whom he loved all his life,
6. How Panurge made fools of the Englishman who argued by signs,
7. How Panurge fell in love with a high lady of Paris,
8. How Panurge was made castellan of Salmiguondin in Dipsody and ate his wheat as grass,
9. How Panurge took advice from Epistemon,
10. How Bridoye explained the reasons why he visited the trials that he decided by the lot of the dice,
11. How Panurge drowned the merchant and the sheep at sea,
12. The Tempest,
13. And all for the tripe,
14. Papegaut Cardinals to Evesgaux Monagaux,
15. Minaud-grippe Archduke of the Fur-cats.

Bracquemond received a 2nd class medal (R231/iR40).
I render a compilation of these 16 engravings.
=!? SNBA-1907-171-142, Seize eaux-fortes pour l’édition de Rabelais, d’A. Lemerre.

 

Société des Artistes Français (=SdAF):
Félix Bracquemond exhibited at the successor of the Salon, the Salon de la Société des Artistes Français (=SdAF) in 1881 +1882 +1883 +1884 +1886 +1887 +1889. See link for the pictures.

SdAF-1881-4602, Une gravure: Séance de la Convention du 20 mai 1795, présidée par Boissy-d’Anglas, d’après E. Delacroix
The owner was ‘la préfecture de la Seine’ (iR1,n/235253).
=EU-OdA-1889-…, Une gravure eau-forte: Boissy d’Anglas, d’après Eug. Delacroix (Exp. spéciale de la ville de Paris; Salon 1881)
Bracquemond received a 1st class medal (R231/iR40).
SdAF-1881-4603, Une gravure: Edmond de Goncourt
Bracquemond received a 1st class medal (R231/iR40).
=? 2XX-1885-1, Edmond de Goncourt.
=EU-OdA-1889-cl.5-2374, Une gravure (eau-forte): Portrait de M. Edmond de Goncourt (S.1881);
=!? EU-C-1900-2275, Portrait d’E. de Goncourt; eau-forte originale.
=!? =!? SNBA-1907-171-78, Portrait d’Edmond de Goncourt, gravure (iR284).
=!? 1882, Sbr, B54-8, (Portrait d’) Edmond de Goncourt (la main droite tenant une cigarette), etch 8th state, 55×40, A2024/10/23 (iR15;iR10;iR1;iR19;R84,p237;R85,no54-8;R2,p310+318).
Compare the drawing exhibited as: 5IE-1880-4, Portrait de M. Ed. de Goncourt.

SdAF-1882-5209, Deux eaux-fortes:
SdAF-1882-5209-1: / 1. Le coq
SdAF-1882-5209-2: / 2. Ebats de canards
=!? 2XX-1885-4, Le coq & Ebats de canards
=EU-OdA-1889-2376, Deux gravures eau-fortes: Le vieux coq; 2. Ebats de canards (Salon 1882).
=? 1882, SDbl, B222, The Old Cock, etch 4/5, 48×36, NGA Washington (M21;iR10;iR1;R231/iR40;R85III,no222)
=? SNBA-1907-171-151, Le vieux coq (iR19).
+ =? 18xx, B221, Ebats de canards (Flock of ducks), etch, 33×24, Metropolitan (M23;iR10;iR1;R231/iR40;R85III,no221)
=? SNBA-1907-171-126, Ébats de canards (iR19).
SdAF-1882-5210, Une eau-forte: Le soir, d’après Th. Rousseau
=EU-OdA-1889-cl.5-2375, Une gravure (eau-forte): Le soir, d’après Th. Rousseau (S.1882)
=? SNBA-1907-171-106, Le soir, d’après Rousseau; appartient à M. Beurdeley (iR19).
Probably: 1882, B342, Evening (after Rousseau), etch, 45×43, NYPL (iR61;R85,no342).

Later in 1882 Félix Bracquemond was appointed as Chevalier de la Légion d’honneur.

SdAF-1883-4576, Une gravure: Labor, d’après Millet
Note: his name was wrongly written as: Bracouemond.
=!? 2XX=1885-6, Labor (ou l’homme à la houe), d’après Millet (see below).
=!? EU-OdA-1889-2378, Une gravure eau-forte: Labor, d’après Millet (Salon 1883).
=!? SNBA-1907-171-101, “Labor”, d’après Millet.
Probably: 1882, B345, Labour (Man with a Hoe; after Millet), etch, 23×28, FAM San Francisco (iR10;M30;R85,no345;R88).
SdAF-1883-4577, Une gravure: Les Mouettes
=? SNBA-1907-171-125, Les Mouettes.
=!? 1882, B223, Les mouettes, etch 3of4, 28×45, Gallery Chicago (iR10;iR1;iR284;R85III,no223)

SdAF-1884-4250, Une gravure: David, d’après M. Gustave Moreau
Belonging to G. Petit.
=EU-OdA-1889-2379, Une gravure eau-forte: David, d’après M. G. Moreau (Salon 1884)
=!? 2XX-1885-5, David, d’après Gustave Moreau;
=!? EU-C-1900-2272, David, d’après Gustave Moreau; eau-forte.
=!? SNBA-1907-171-98, David, d’après Gustave Moreau (apartient à M. le baron Vitta)
=!? 1884, B348, David, d’après Gustave Moreau, etch, 71×45, A2012/11/29 (iR10;iR105;iR13;iR1;iR19)
SdAF-1884-4251, Une gravure: La leçon de tricot, d’après Millet
Belonging to MM. Arnold et Tripp (iR1,n/250264).
=!? SNBA-1907-171-102, La leçon de tricot, d’après Millet.
=? 1855ca, B127, Embroidery with needle (after Millet), etch, 30×22, Metropolitan (iR6;R52,noAd8;R85III,no127;M23)

This year Félix Bracquemond received a ‘médaille d’honneur‘ at the Salon (R88).

SdAF-1886-4493, Une gravure: La rixe, d’après M. Meissonier
Belonging to M. Georges Petit.
=EU-OdA-1889-2380, Une gravure eau-forte: La Rixe, d’après M. Meissonier (Salon 1886).
=!? SNBA-1907-171-97, La Rixe, d’après M. Meissonier (appartient à M. le baron Vitta)
Probably: 1885, B349, La Rixe (after Meissonier), etch, 55×65, FAM San Francisco (iR10;M30;iR1;R85,no349).

SdAF-1887-4899, Six gravures: D’après les aquarelles de M. G. Moreau
=EU-OdA-1889-2381, Deux gravures eau-fortes: Fables de La Fontaine, d’après M. G. Moreau (Salon 1887)
=? 1885-86, B796, The Dream of an Inhabitant of Mongolia, etch, 39×28, NMWA Tokyo (M127;iR10;iR1;R85,no795)
=? 1886, B795, Le Singe et le chat, etch, 43×29, Metropolitan (M23;iR10;iR1;R231/iR40;R85,no795).
SdAF-1887-4900, Deux gravures: D’après les dessins de F. Millet
=EU-OdA-1889-2382, Une gravure eau-forte: Puiseuses d’eau, d’après Millet (Salon 1887)
=? SNBA-1907-171-103, Les Puiseuses d’eau, d’après Millet; appartient à M. Alexis Rouart.
=1885, B785, Puiseuses d’eau (after Millet), etch, 56×41, NYPL (iR6;iR61;iR1;R85XIII,no785)
=?? SNBA-1907-171-104, Le Nouveau-né, d’après Millet; appartient à M. Alexis Rouart.

SdAF-1889-5350, Une gravure (eau-forte): Printemps; femme donnant à manger à des oisons, d’après Millet
Probably: 1888, B787, Spring (after Millet), etch, 49×34, A2019/09/19 (iR13;R85XIII,no787).
SdAF-1889-5351, Une gravure (eau-forte): Automne; jeune bergère regardant un vol d’oies sauvages, d’après Millet
=!? EU-C-1900-2276, L’Automne, d’après Millet; eau-forte.
Probably: 1888, B788, Automne, jeune bergère regardant un vol d’oies sauvages, d’après Millet, etch, xx, Metropolitan (iR6;R85XIII,no788;M23)

In 1889 Bracquemond was appointed Officier de la Légion d’Honneur.

 

Salon de la Société nationale des Beaux-Arts (Champs-de-Mars) (=SNBA):
Félix Bracquemond exhibited at the alternative Salon de la Société National des Beaux-Arts (=SNBA) in 1891+1892+1893+1902+1907. See link for the pictures.

SNBA-1891- 1373, Partie perdue (eau-forte, d’après Meissonier)
=!? EU-D-1900-cl8-62, Partie perdue, d’après Messonier; eau-forte.
=!? 1889, B793, Partie perdue, d’après Meissonier, etch, 36×46, NYPL (iR61;iR10;R231-3;R85,no793).

SNBA-1892-1592, Portrait de M. Carnot, Président de la République (eau-forte)
=!? B777, Carnot, Président de la République, dessiné d’après nature. Portrait officiel, commandé par le Ministère, 1888 (R85XIII,no777).
I couldn’t find a picture.

SNBA-1893-148, L’arc-en-ciel (eau-forte originale)
Probably: 1893, Bsupp24, The rainbow, colour litho, 48×63, Metropolitan (iR6;iR35;iR1;R85IIIsupp1897,no24;R73,p11;M23)
=? SNBA-1907-171-121, L’arc-en-ciel.

SNBA-1902-19, Coupe et lampes électriques en vermeil et cristal
For all works exhibited in 1902 to following is mentioned: Une collaboration de MM. Bracquemond, Alexandre Charpentier et Jules Chéret pour la décoration de la villa “La Sapinière”, à Evian, collection de M. le baron J. Vitta (iR1,n/324805).
Eng.: A collaboration between Messrs Bracquemond, Alexandre Charpentier and Jules Chéret for the decoration of the villa “La Sapinière”, in Evian, collection of M. le baron J. Vitta.
I couldn’t find any picture.

SNBA-1902 (not further specified):

  • Broche en émail translucide avec monture en or émaillé (fond bleu)
  • Broche en émail translucide avec monture en or émaillé (fond jaune)
  • Broche en émail translucide avec monture en or émaillé (fond rose)
  • Broche en émail translucide avec monture en or émaillé (fond violet)
  • Cadre de glace
  • Cadre en bois sculpté et doré composé pour l’esquisse d’Eugène Delacroix : “Le triomphe d’Apollon”
  • Cheminée en ébène et amaranthe composée pour soutenir et encadrer un haut relief de Falguière sculpté en bois par Léopold Savine et peint par Bracquemond
  • Chenets en fer (forgés par Alexandre Brosset)
  • Comiche, frise et lambris
  • Console
  • Console, cadre de glace, coupe et lampes
  • Coupe basse en émail translucide (essai)
  • Coupe en émail translucide avec pied en or ajouré et émaillé
  • Coupe en émail translucide avec pied en or émaillé
  • Coupe et lampes
  • Deux épreuves des gravures à l’eau-forte exécutées sur plaques d’argent pour la reliure du manuscrit de ” La mort du duc d’Enghien”
    =? SNBA-1907-171-23, Le duc d’Enghien dans les fossés de Vincennes (appartient à M. le Baron Vitta)
  • Miroir en émail translucide, or et ivoire avec bas-relief par Rodin
  • Peigne en émail translucide, or et écaille (fond rose)
  • Peigne en émail translucide, or et écaille (fond vert)
  • Porte (peintures de Chéret, serrure de Charpentier)
  • Porte (peintures de Chéret, serrure de Charpentier)
  • Portraits de Bracquemond, de Charpentier et de Chèret, d’après les médaillons de Charpentier
    =!? SNBA-1907-171-21, Portrait de Bracquemond, Jules Chéret, A. Charpentier; appartient à M. le Baron Vitta.
  • Reliure pour “La mort du duc d’Enghien”, manuscrit de Léon Hennique, avec plaques d’argent gravées à l’eau forte et niellées (Marius Michel, relieur)
    • Vase avec son pied en bois sculpté (grès de Muller)
    • Vue d’ensemble de la salle

SNBA-1907-171, Exposition particulière des œuvres de cet artiste
Special exhibition / retrospective called ‘Oeuvres de Bracquemond‘ in ‘Salle D’ with a separate catalogue (iR1,n/330620), rendering 210 catalogue numbers* (iR201). The catalogue included an extended preface by Léandre Vaillat.
Many works were exhibited before. I will notice this at the first time it was exhibited.

The catalogue renders the following techniques and numbers:
Peintures: 1-11
Dessins, aquarelles + pastels: 12-76
Gravures: 77-173
Panneaux décoratifs + broderies en soie: 174-178.
Céramique: 179-195.
Objets d’art: 196-210.
Catalogue: aR22; bibliothèque.specialisees.paris.fr (iR284) + archive.org (iR19//ia804607); see also R88I,p76.
Note*: several numbers contained more than one art-work, so I assume that about 300 art-works were exhibited.

Here below you will find some suggestions (for works not earlier exhibited):
SNBA-1907-171-13, Portrait de Manet (étude).
=1864, Portrait of Édouard Manet, pastel, 63×47, A2024/04/30 (iR201; iR87)
SNBA-1907-171-175, Panneau décoratif.
=1905ca, Hirondelle de mer, fire screen + silk embroidery (for Manufacture des Gobelins), 109x75x40 (76×60), A2024/04/30 (iR201;iR87;iR224;iR1;iR19)
SNBA-1907-171-177, Paysage.
=1905ca, Sous-bois en automne, Broderie de soie polychrome, bordure bleue à décor d’entrelacs dorés (silk embroidery) for Manufacture des Gobelins, 63×54, A2024/04/30 (iR201; iR87)
SNBA-1907-171-178, Paysage.
=1905ca, Sous-bois au printems, broderie de soie polychrome, bordure grise à décor d’entrelacs argentés (silk embroidery) for Manufacture des Gobelins, 64×54, A2024/04/30 (iR201;iR87)
SNBA-1907-171-179, Le Verger, grand plat en faïence de (Théodore) Deck
=1876ca, Le Verger (The orchard), earthenware plate, d56, A2024/04/30 (iR201;iR87;iR201;iR1;iR19)
Maybe shown at the Exposition Universelle in Philadelphia in 1876 and in Paris 1878.

 

Félix Bracquemond at the Exposition Universelle:
Félix Bracquemond joined the art exhibitions of the Exposition Universelle in Paris in 1855, 1867, 1889 and 1900. So (probably) not in 1878. See link for the pictures.

1855:
Note: the art exhibition at the Exposition Universelle coincided with the Salon or the Salon of 1855 was cancelled.
Félix Bracquemond exhibited 1 pastel and 4 etchings. (iR1)

EU-1855-2619, Portrait de l’auteur, dessin
=S1853-169.
=SNBA-1907-171-12, Portrait de l’Auteur (1853); appartient à Mme Mary Davis (Londres) (iR284;iR19)

EU-1855-4600, Le haut d’un battant de porte; eau-forte
See Bouillon (R52,p76-81). Seen as his most important work (R73,p7).
=!? EU-C-1900-2273, Le Haut d’un battant de porte; eau-forte originale.
=SNBA-1907-171-154, Le haut d’un battant porte; appartient à M. Jacquin (iR284;iR19)
=!? 1852, The wingerd door, etch, 28×38, RM Amsterdam (iR10;R52,p76-7;R73,p28;CR85,no110).

EU-1855-4601, Sarcelles; eau-forte
Eng.: Teals, a sort duck; etching. See Bouillon (R52,p82/3).
=EU-London-1962-427
=SNBA-1907-171-146, Sarcelles (iR19)

EU-1855-4602, Margot la critique; eau-forte
See Bouillon (R52,p86/7).
=Lyon-1863-87;
=1IE-1874-27-3, Margot la critique
=EU-C-1889-VII-64, Margot la critique, eau-forte originale;
=SNBA-1907-171-145a, Margot le critique.

EU-1855-4603, Etude; eau-forte
Eng.: study; etch. A very common title, I don’t have a suggestion.

1867: Exposition Universelle Oeuvres d’art (=EU-1867) (R231/iR19):
EU-1867-906, Portrait d’Erasme, d’après le tableau de Holbein, musée du Louvre, eau-forte (Salon de 1864)
See SdR-1863-656.

Note: The Rousseau dinner service, for which Bracquemond he made the decorations, also was exhibited in 1867 (R73,p11).

1876 +1878:
Maybe at the Exposition Universelle in Philadelphia in 1876 and in Paris 1878, the following plate designed by Bracquemond was shown:
=1876ca, Le Verger (The orchard), earthenware plate, d56, A2024/04/30 (iR201;iR87;iR201;iR1;iR19).
=!? SNBA-1907-171-179, Le Verger, grand plat en faïence de (Théodore) Deck

1889: Exposition Universelle d’oeuvres d’art (R231/iR40):
In 1889 Félix Bracquemond was part of the jury for classe 5 (Gravure et lithographie) (R231-12,p35). Later that year he was appointed as Officier de la Légion d’Honneur (R231-3).

EU-OdA-1889-2374, Une gravure eau-forte: Portrait de M. Edmond de Goncourt (Salon 1881)
See: SdAF-1881-4603, Une gravure: Edmond de Goncourt
EU-OdA-1889-2375, Une gravure eau-forte: Le soir, d’après Th. Rousseau (Salon 1882)
See: SdAF-1882-5210, Le soir, d’après Th. Rousseau
EU-OdA-1889-2376, Deux gravures eau-fortes: Le vieux coq; 2. Ebats de canards (Salon 1882)
=SdAF-1882-5209, Deux eaux-fortes: 1. Le coq; 2. Ebats de canards.
EU-OdA-1889-2377, Deux gravures eau-fortes: Canards surpris; Brumes du matin.
No. 2377a =!? 1882, B778, Surprised ducks, etch, 38×27, Metropolitan (iR6;M23;R85XIII,no778;R231/iR40;iR19)
=!? SNBA-1907-171-122, Canards surprise (iR19).
No. 2377b =!? 1882, B779, Morning mist (with pheasants), etch, 24×35, xx (iR10;iR1;iR19;R88;R85III,no779)
=!? SNBA-1907-171-129, Brumes du matin (iR19).
EU-OdA-1889-2378, Une gravure eau-forte: Labor, d’après Millet (Salon 1883)
See: SdAF-1883-4576, Une gravure: Labor, d’après Millet.
EU-OdA-1889-2379, Une gravure eau-forte: David, d’après M. G. Moreau (Salon 1884)
See SdAF-1884-4250, Une gravure : David, d’après M. Gustave Moreau.
EU-OdA-1889-2380, Une gravure eau-forte: La Rixe, d’après M. Meissonier (Salon 1886)
See SdAF-1886-4493, Une gravure: La rixe, d’après M. Meissonier.
EU-OdA-1889-2381, Deux gravures eau-fortes: Fables de La Fontaine, d’après M. G. Moreau (Salon 1887)
=SdAF-1887-4899, Six gravures: D’après les aquarelles de M. G. Moreau.
EU-OdA-1889-2382, Une gravure eau-forte: Puiseuses d’eau, d’après Millet (Salon 1887)
=SdAF-1887-4900-1, (Deux gravures): D’après les dessins de F. Millet
EU-OdA-1889-…, Une gravure eau-forte: Boissy d’Anglas, d’après Eug. Delacroix (Exp. spéciale de la ville de Paris; Salon 1881)
=SdAF-1881-4602, Une gravure: Séance de la Convention du 20 mai 1795, présidée par Boissy-d’Anglas, d’après E. Delacroix (appartient à la préfecture de la Seine).

1889: Exposition Centennale, II Dessins et Aquarelles (=EU-C-1889) (R231/iR40):
EU-C-1889-II-63, Portrait du Dr. H. de Montègre, pastel (app. à M. Michel Colombari)
See S1861-402, Portrait de M. le docteur H. de M…, dessin au pastel.
EU-C-1889-II-64, La lecture de la Bible, pastel (app. à M. E. May)
See S1852-175, Portrait de Mme M. B…; dessin
EU-C-1889-VII-59, Portrait d’Erasme, d’après Holbein, gravure (Chalcographie du Louvre)
See SdR-1863-656.
EU-C-1889-VII-60, Portrait de Méryon, d’après nature, eau-forte.
=!? 1IE-1874-24-8, Portrait de M Meryon.
EU-C-1889-VII-61, Le Haut d’un battant de porte, eau-forte originale
See: EU-1855-4600, Le haut d’un battant de porte; eau-forte;
EU-C-1889-VII-62, La Volaille plumée, eau-forte originale
=1856ca, B155, La volaille plumée, etch, 35×26, NYPL (iR61;iR10;iR284;R231-5;R85III,no155;R52,noAc24)
=1897-34;
=SNBA-1907-171-156, La volaille plumée; appartient à M. Jacquin.
EU-C-1889-VII-63, La Neige, eau-forte originale
=? 1864, B180-4, Hiver (Winter; wolf in the snow), etch, 33×51, Metropolitan (iR35;iR10;iR284;R231-5;R85III,no180;M23)
=!? SNBA-1907-171-123, Le loup dans la neige.
EU-C-1889-VII-64, Margot la critique, eau-forte originale
See S=EU1855-4602, Margot la critique; eau-forte.

In 1889 Bracquemond was appointed Officier de la Légion d’Honneur.

1900: Exposition Centennale 1800-1889 (=EU-C-1900) (R231-1/iR40):
At the Centennial exposition of the Exposition Universelle in 1900 Félix Bracquemond showed 2 pastels (1hc), 5 etchings and 1 lithograph.

EU-C-1900-744, Une femme âgée et trois enfants; dessin rehausée (1851) (appartient à M. Ernest May)
See S1852-175, Portrait de Mme M. B…; dessin
=1851, An old woman with 3 children, dr, ?cm, xx (iR40;R231-2)
Note: this work was rendered in the illustrated catalogue (R231-2).

EU-C-1900-744+hc, Portrait du Docteur Horace de Montègre.
See S1861-402, Portrait de M. le docteur H. de M…, dessin au pastel.
=SNBA-1907-171-14, Portrait du Docteur Horace de Montègre (appartient à Mme. Ferrari)
(Ce dessin à figuré à l’Exposition Centennale de 1900, à Paris.)

EU-C-1900-2272, David, d’après Gustave Moreau; eau-forte.
See SdAF-1884-4250, Une gravure: David, d’après M. Gustave Moreau;

EU-C-1900-2273, Le Haut d’un battant de porte; eau-forte originale.
See: S=EU-1855-4600, Le haut d’un battant de porte; eau-forte

EU-C-1900-2274, Portrait d’Erasme, d’après Holbein; gravure.
See SdR-1863-656.

EU-C-1900-2275, Portrait d’E. de Goncourt; eau-forte originale.
See SdAF-1881-4603, Une gravure: Edmond de Goncourt;

EU-C-1900-2276, L’Automne, d’après Millet; eau-forte.
See: SdAF-1889-5351, Une gravure (eau-forte): Automne; jeune bergère regardant un vol d’oies sauvages, d’après Millet

EU-C-1900-2469, Deux cavaliers traversant une forêt, 1862 (lithographie) (appartient à M. A. Beurdeley).
=!? B750, Deux cavaliers traversant une fôret; grande lithographie signée à l’angle inférieur gauche, Bracquemond.
I couldn’t find a suggestion.

1900: Exposition Decennale 1889-1900:
Félix Bracquemond showed 5 etchings at the Exposition Decennale of the Exposition Universelle in 1900. These were noted under classe 8 (=EU-1900-D-cl8) (R231-3/iR40). In 1900 Bracquemond received a Grand Prix de Gravure (classe 8) (R231-13,p122).

EU-1900-D-cl8-58, Souvenirs de la Semaine russe, 1893; eau-forte.
=!? SNBA-1907-171-157, La Semaine russe; pour l’Estampe originale (André Marty, éditeur); appartient à M. Jacquin.
=!? 1893, The Gallic Cock (Long live the Czar!), etch+ps, 31×22, Minneapolis IA (M155;iR10;R231-3)
Note: at the bottom of the original print there is written ‘souvenirs de la semaine russe’ (M155)
See also the print from the Viau collection (iR493).
EU-1900-D-cl8-59, Un couple de faisans; eau-forte.
=? SNBA-1907-171-123a, Le  couple de Faisans (iR19).
=? 1899, Sbl, Couple de faisans, etch, 35×29 (58×49), A2019/05/23 (iR116;iR241;iR10;iR19;R231-3)
EU-1900-D-cl8-60, Point d’interrogation; eau-forte.
=? SNBA-1907-171-124, Le Point d’interrogation (iR19).
=? 1865ca, The question mark (Les canards dupes), etch, 27×40, Birmingham MA (USA) (iR155;iR10;iR241;iR116;iR19;R231-3)
EU-1900-D-cl8-61, Portrait de M. A. Delzaut; eau-forte.
=!? SNBA-1907-171-83, Portrait d’Alidor Delzant.
=!? 1900, Alidor Delzant, etch, 39×32, VMFA Richmond (M220;iR10;R231-3)
Note: the difference between Delzaut and Delzant.
EU-1900-D-cl8-62, Partie perdue, d’après Messonier; eau-forte.
=!? SNBA-1891-1373, Partie perdue, eau-forte d’après Messonier;
=!? 1889, SDbr, B793, Lost game, etch, 36×46, NYPL (iR61;iR10;R231-3;R85XIII,no793)

 

 

Salon des XX:
Félix Bracquemond joined the 2nd Salon of Les Vinghts in Brussels in 1885 with 6 works. See link for the pictures.

2XX-1885-1, Edmond de Goncourt
It is unclear if this was a drawing (compare 5IE-1880-4) or an etch (compare SdAF-1881-4603; see above). As all the other exhibited works were engravings, it is most likely it was an etch.

2XX-1885-2, Léon Cladel
=!? SNBA-1907-171-79, Portrait de Léon Cladel.
=!? 1883, B21, Portrait of French writer Léon Cladel, etch, 35×26, NYPL (iR10;iR61;R85,no21-3).

2XX-1885-3, Jacques Bosch, guitariste
=!? SNBA-1907-171-77, Portrait de Bosch; appartient à M. Beurdeley.
=!? 1883, B18, Jacques Bosch, guitariste, etch, 41×36, BNF Paris (iR10;iR64;iR40;R85,no18).

2XX-1885-4, Le coq & Ebats de canards
=!? SdAF-1882-5209, Deux eaux-fortes: 1. Le coq; 2. Ebats de canards.

2XX-1885-5, David, d’après Gustave Moreau
=!? SdAF-1884-4250, Une gravure : David, d’après M. Gustave Moreau.

2XX=1885-6, Labor (ou l’homme à la houe), d’après Millet
=!? SdAF-1883-4576, Une gravure: Labor, d’après Millet.

 

 

Recommanded citation: “Impressionism: Félix Bracquemond, an account of his exhibited works. Last modified 2025/07/11.  https://www.impressionism.nl/bracquemond-felix-account/.”