Félix Bracquemond account



Impressionism, a historical reconstruction:

Félix Bracquemond



of his exhibited works


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 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) 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.

Ernest Chesnau (1874/05/07) reviewed: ‘To have invited to participate in this exhibition certain painters who are at the extreme end of the latest banalities of the official Salons, and even artists of undeniable talent, but acting in ways that differ from their own, such as the misters de Nittis, Boudin, Bracquemond, Brandon, Lépine, Gustave Colin, this is a major error of both logic and tactics.’ (R87,p268/9).

The catalogue numbers:

1IE-1874-23, Portrait (dessin)
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
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.

1IE-1874-24-2, Portrait de M. Meyer Heine
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
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).

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).

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.

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).

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). 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).

1IE-1874-24-9, Portrait de M. Th. Gauthier
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).

1IE-1874-24-10, Portrait de M. Th. Gautier (le Tombeau)
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
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).

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).

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).

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).

1IE-1874-25-5, La Source (d’après Ingres; Etude de gravure)
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).

1IE-1874-25-6, La Servante (d’après Leys)
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.


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. Now:  1852-82, B190, Les saules des Mottiaux, etch, 20×30, BNF (iR61;R85III,no190;R90II,p4+18).

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). I also render B188: 1868, B188, La Scierie du Bas-Meudon, ?cm, xx (iR10;iR241;R185III,no188) =!? S1870-5105 or 5106.

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
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↑.

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, see below S/EU1855-4602.

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. 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

1IE-1874-28-2, Portrait d’Erasme (D’après Holbein); état définitif
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).



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:




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).

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).

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.

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)



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:




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, Portrait of Edmond de Goncourt, charcoal, 55×38, Louvre (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, claiming that it is a charcoal drawing on canvas (R2,p318). But on this image Edmond de Goncourt looks to the left (for the viewer), that is the same direction as he does on etchings in various states and the same that Beraldi descripes it (R85,no54). It is the same direction that Berson depicts (R90II,p159). So I suppose both are pictures of etchings and not of a drawing, which must be a reverse version where the model is looking to the right. The New York Public Library only depicts etchings (iR61). I could not find an image on gallica.bnf.fr (iR40). Joconde mentions a drawing: 1880, Portrait d’Edmond de Goncourt, la main droite tenant une cigarette, ‘stump, charcoal, canvas’, 55×38, musée du Louvre département des Arts graphiques, but Joconde doesn’t render an image (iR23). Additional info from the Louvre: Fonds des dessins et miniatures, collection du musée d’Orsay
RF 22889, Recto; exhibited in 1986 in ’the new painting’. So maybe the version redered by Moffett is a drawing. On Google images I found one reversed version, but it is an image of an etch in the Saint-Louis Art Museum. Wikimedia also renders a head of Edmond de Goncourt: Félix Bracquemond, 1880, Edmond de Goncourt, stump+charcoal on canvas, 55×35, xx (iR6), referring to the website www.histoire-image.org. Here the model looks also to the left. It seems a detail of the well-known picture.
I render 3 versions, all to compare. Bracquemond also exhibited a protrait of Edmond de Goncourt as SdAF-1881-4603 (as an etch) and XX-1885-1 (unknown medium; see below). 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. 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 the Salon coincided with the art exhibition of the Exposition Universelle. In 1867 Bracquemond was not in the catalogue but the Rousseau service was exhibited, which he designed. 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). I could not find a picture of this work.

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)

S=EU-1855-2619, Portrait de l’auteur, dessin
=S1853-169. Note: The 5 works Félix Bracquemond exhibited at the Salon of 1855 were part of the Exposition Universelle.

S=EU-1855-4600, Le haut d’un battant de porte; eau-forte
See Bouillon (R52,p76/7). Now: 1852, The wingerd door, etch, 28×38, RM Amsterdam (iR10;R52,p76-7;R73,p28;CR85,no110). Seen as his most important work (R73,p7).

S=EU-1855-4601, Sarcelles; eau-forte
Eng.: Teals, a sort duck; etching. See Bouillon (R52,p82/3).

S=EU-1855-4602, Margot la critique; eau-forte
(=1IE-1874-27-3) See Bouillon (R52,p86/7).

S=EU-1855-4603, Etude; eau-forte
Eng.: study; etch. A very common title.

S1857-373, Portrait de Mme A…, dessin aux trois crayons
Eng.: Portrait of Madame A…, drawing with 3 pencils.

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.

S1861-402, Portrait de M. le docteur H. de M…; dessin au pastel
Eng.: Portrait of Mr. Doctor H. de M…; pastel drawing. Probably: 1860, Portrait du Docteur Horace de Montègre, pastel, 59×45, Orsay (iR10;iR127;iR1;R231;R88;M1), also exhibited at the Exposition Universelle in 1889 as EU-C-1889-II-63; afterwards Bracquemond was appointed in the Legion d’Honneur as Officier.

SdR1863-657, 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.

SdR1863-658, 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)

S1864-2849, Portrait d’Erasme, d’après le tableau de Holbein, du Musée du Louvre; eau-forte
(=SdR1863-657 = 1IE-1874-28)

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) (=SdR1863-658 = 1IE-1874-25-4)

S1865-2321, Tête d’étude; dessin
Eng.: study of a head.

S1865-3247 Tête d’étude; eau-forte
Eng.: study of a head.

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). Rappard-Boon mentions Bracquemond received his first and only medal for this work (R73,p8+25;iR1,S1867).

S1866-3099, Deux gravures à l’eau-forte, même numéro :

S1866-3099-1, Portrait d’homme.
Eng.: Portrait of a man.

S1866-3099-2, Canard sauvage
Maybe: 1855-60ca, L’étang, etch, 18×28, British Museum London (R52,p103). Or maybe the same as S1855-4601.

S1867-202, Portrait de M. A. Vacquerie
It is mentioned that Bracquemond received a medal in 1866 (iR1,n/184033).

S1867-2577, Gravures à l’eau forte, d’après les dessins de M. Bida; même numéro
Eng.: Etching, 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, but as there are four gospels probably four.

EU1867, Service Rousseau
The Salon database doesn’t mention Bracquemond exhibited at the ‘Exposition Universelle’ of 1867 his ‘Service Rousseau’, etching designs for tableware for the Rousseau manufactory. (R73,p11)

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. Bracquemond received a medal (R231/iR40). Photey, probably referring to this work, wrote ‘A very small portrait, full-bodied, solid, with a superb drawing’ (R265,no16=iR40).

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.). Accoring to the Annuaire of 1870 in La Gazette Bracquemond received a price for etching (R259). Photey rendered the the frontispiece of l’Illustration Nouvelle ’the magnificent publication by Misters Codart and Luce’ (R265,no16=iR40).

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.

S1869-2552, Gargantua sur sa jument; aquarelle
Eng.: Gargantua on his mare; watercolour.

S1869-2553, La rencontre de Pantagruel et de Panurge; aquarelle
Eng.: The meeting of Pantagruel and Panurge; watercolour.

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, (Beraldi 187), La Seine à Bas Meudon, etch, 16×23, Metropolitan (iR6;Mx).

S1872-1946, Seize eaux-fortes destinées à une édition de Rabelais
Eng.: Sixteen etchings for a Rabelais edition Bracquemond received a 2nd class medal (R231/iR40).


Société des Artistes Français (=SdAF):
Félix Bracquemond exhibited at the successor of the Salon, the the Salon de la Société des Artistes Français (=SdAF) from 1881 till 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). I have no suggestion. Bracquemond received a 1st class medal (R231/iR40).
SdAF-1881-4603, Une gravure : Edmond de Goncourt
Probably of the same portrait Bracquemond exhibited a drawing as 5IE-1880-4 (see above) and (with an unknown medium) as XX-1885-1 (see below). Bracquemond received a 1st class medal (R231/iR40).

SdAF-1882-5209, Deux eaux-fortes :
SdAF-1882-5209-1: / 1. Le coq
SdAF-1882-5209-2: / 2. Ebats de canards
Probably both also exhibited as XX-1885-4 (see below). I have no suggestion.
SdAF-1882-5210, Une eau-forte : Le soir, d’après Th. Rousseau
Probably: 1882, B342, Evening (after Rousseau), etch, 45×43, NYPL (iR61;R85,no342).

SdAF-1883-4576, Une gravure: Labor, d’après Millet
Note: his name was wrongly written as: Bracouemond. Probably also exhibited as XX-1885-6 (see below). Probably: 1882, B345, Labour (Man with a Hoe; after Millet), etch, 23×28, FAM San Francisco (iR10;Mx;R85,no345;R88).
SdAF-1883-4577, Une gravure: Les Mouettes
I have no suggestion.

SdAF-1884-4250, Une gravure : David, d’après M. Gustave Moreau
Belonging to G. Petit. Probably also exhibited as XX-1885-5 (see below). Probably: 1884, B348, David, d’après Gustave Moreau, etch, 71×45, A20121129 (iR10;iR105;iR13).
SdAF-1884-4251, Une gravure : La leçon de tricot, d’après Millet
Belonging to MM. Arnold et Tripp (iR1,n/250264). Maybe??: 1855ca, B127, Embroidery with needle, etch, 43×29, Metropolitan (iR6;Mx;R85,no127;R52,p124-6). Not depicted.
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. Probably: 1885, B349, La Rixe (after Meissonier), etch, 55×65, FAM San Francisco (iR10;Mx;iR1;R85,no349).

SdAF-1887-4899, Six gravures : D’après les aquarelles de M. G. Moreau
I have no suggestion.
SdAF-1887-4900, Deux gravures : D’après les dessins de F. Millet
I have no suggestion.

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).
SdAF-1889-5351, Une gravure (eau-forte) : Automne ; jeune bergère regardant un vol d’oies sauvages, d’après Millet
Probably: 1888, Automne, jeune bergère regardant un vol d’oies sauvages, d’après Millet, etch, xx, Metropolitan (iR6)


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+92+93+1902+07. See link for the pictures.

SNBA-1891- 1373, Partie perdue (eau-forte, d’après Meissonier)
Probably: 1889, B793, Partie perdue, d’après Meissonier, etch, 36×46, NYPL (iR61;iR10;R85,no793).

SNBA-1892-1592, Portrait de M. Carnot, Président de la République (eau-forte)

SNBA-1893-148, L’arc-en-ciel (eau-forte originale)
Probably: 1893, B1897-24, The rainbow, colour litho, 48×63, Metropolitan (iR6;iR35;Mx).

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.

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”
  • 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
  • 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 of works of Félix Bracquemond in ‘Salle D’ with a separate catalogue (iR1,n/330620), rendering 210 works (iR201).
*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, wood structure (109x75x40) and silk embroidery (109×75) for Manufacture des Gobelins, A2024/04/30 (iR201;iR87)
*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-?, Le Verger, grand plat en faïence de (Théodore) Deck
=1876ca, Le Verger’, earthenware plate, d56, A2024/04/30 (iR201; iR87)


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 not in 1878. See link for the pictures.

Note: the art exhibition at the Exposition Universelle coincides with the Salon (see above). Bracquemond exhibited 1 drawing and 4 etches. (iR1)

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)

1889: Exposition Universelle d’oeuvres d’art (R231/iR40):
EU-OdA-1889-2374, Une gravure eau-forte: Portrait de M. Edmond de Goncourt (Salon 1881)
EU-OdA-1889-2375, Une gravure eau-forte: Le soir, d’après Th. Rousseau (Salon 1882)
EU-OdA-1889-2376, Deux gravures eau-fortes: Le vieux coq; 2. Ebats de canards (Salon 1882)
EU-OdA-1889-2377, Deux gravures eau-fortes: Canards surpris; Brumes du matin.
EU-OdA-1889-2378, Une gravure eau-forte: Labor, d’après Millet (Salon 1883)
EU-OdA-1889-2379, Une gravure eau-forte: David, d’après M. G. Moreau (Salon 1884)
EU-OdA-1889-2380, Une gravure eau-forte: La Rixe, d’après M. Meissonier (Salon 1886)
EU-OdA-1889-2381, Deux gravures eau-fortes: Fables de La Fontaine, d’après M. G. Moreau (Salon 1887)
EU-OdA-1889-2382, Une gravure eau-forte: Puiseuses d’eau, d’après Millet (Salon 1887)
EU-OdA-1889-…, Une gravure eau-forte: Boissy d’Anglas, d’après Eug. Delacroix (Exp. spéciale de la ville de Paris; Salon 1881)

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)
EU-C-1889-II-64, La lecture de la Bible, pastel (app. à M. E. May)
EU-C-1889-VII-59, Portrait d’Erasme, d’après Holbein, gravure (Chalcographie du Louvre)
EU-C-1889-VII-60, Portrait de Méryon, d’après nature, eau-forte
EU-C-1889-VII-61, Le Haut d’un battant de porte, eau-forte originale
EU-C-1889-VII-62, La Volaille plumée, eau-forte originale
EU-C-1889-VII-63, La Neige, eau-forte originale
EU-C-1889-VII-64, Margot la critique, eau-forte originale

1900: Exposition Centennale 1800-1889, Dessins (=EU-C-1900) (R231/iR40):
=EU-C-1900-744, Une femme age avec trois enfants (appartient à Ernest May)
(Note: this work was rendered in the illustrated catalogue, that only mentions the pictures and sculptures, not the drawings and etchings, so maybe Bracquemond exhibited more works.)


Salon des XX:
Félix Bracquemond joined the 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).

2XX-1885-2, Léon Cladel
Probably: 1883, B21, Portrait of French writer Léon Cladel, etch, 35×26, NYPL (iR10;iR61;R85,no21-3).

2XX-1885-3, Jacques Bosch, guitariste
Probably: 1883, B18, Jacques Bosch, guitariste, etch, 41×36, BNF Paris (iR10;iR64;iR40;R85,no18).

2XX-1885-4, Le coq & Ebats de canards
Probably the same work as SdAF-1882-5209.

2XX-1885-5, David, d’après Gustave Moreau
Probably the same work as SdAF-1884-4250.

2XX=1885-6, Labor (ou l’homme à la houe), d’après Millet
Probably the same work as SdAF-1883-4576.



Recommanded citation: “Impressionism: Félix Bracquemond, an account of his exhibited works. Last modified 2024/05/08.  https://www.impressionism.nl/bracquemond-felix-account/.”