Brandon account

Édouard Brandon (1831-1897)

Account

of his exhibited art-works

 

 

Introduction:
On this page you will find an account of the pictures that Édouard Brandon exhibited at the first ‘impressionist’ exposition in 1874, the Salon, the Société National des Beaux-Arts and other exhibitions. For the used sources see at the bottom of the main page about Édouard Brandon. See link for his works exhibited in 1874, at the Salon and other exhibitions and a thematical overview.  

 

Overview 1st ‘impressionist’ exposition 1874:

  • catalogue numbers 29-32bis
  • no.31 contained at least 2 watercolours; I suggest 6
  • so in total Brandon showed at least 6 works, maybe even 10
    • 2 oil paintings, 2 drawings  and at least 2 watercolours
    • 1x an indication of place
    • 0x an indication of time, season or weather
    • 0x a study
    • 0x a loan
  • See for the suggestions of Moffett (R2,p119), of Dayez / Adhémar (R87,p232) and Berson (R90II,p5/6+20).

Reviews:
Emile Cardon (1874/04/29) reviewed: ‘The misters Brandon, Cals, de Molins, cannot without injustice be regarded as followers of the New School. We will therefore not deal here with them or their works, since we are sure to find them at the Champs-Elysées Palace or on rue Le Peletier. (R87,p263).
Castagnary (1874/04/29) reviewed: ‘Brandon, whose painting of Jewish customs is the focus of his work’ (R90I,p16;R87,p232).
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)
Léon de Lora (1874/04/18) reviewed: ‘Mister Edouard Brandon has sent in the Première Lecture de la loi and Le Maître d’école, two of those Israelite compositions in which his firm and charming talent is displayed. Mr Brandon also has a beautiful portrait, his watercolours and a large charcoal board.’ (R90I,p27;R87,p232).

Catalogue 1874 (R2,p119;R90I,p4;R87,p232;iR1):

1IE-1874-29, Première Lecture de la Loi.
Eng.: The first lecture / reading of the Law / the Thora. Berson and probably Moffett suggest: 1869-70, Scene in a Synagogue, 157×88, Philadelphia MA (R90II,p5+20;R2,p119;R88I,p79), a work that had been exhibited as S1869-319, *La sortie de la loi le jour de sabbat. Berson refers to the reviews of Castagnary, Lepelletier and de Lora (R90II,p5), see above. Lepelletier only mentioned the title (R90I,p24). I assume, that the first reading of the Thora refers to the Bar Mitswa, a Jewish ritual that a Jewish boy of thirteen becomes member of the Jewish communitee by reading for the first time in public from the Thora (and some more) (aR13,p15;aR14,p23/24). In this picture from the Philadelphia Museum of Art, the boy seems to be prepared to take over the Thora with two special devices from the Rabbi. But in the S1869-319 title, the emphasize lies on the leaving of the Thora from the Tabernacle. Brandon made more pictures about the Bar Mitswa. Note the double title in SNBA-1890-126, Baar-Mitzwa (l’examen). This gives a link to S1870-369, L’examen.

1IE-1874-30, Portrait de M. A.Z. (dessin)
Eng.: Portrait of Mister A.Z. (drawing). Note: the same title as S1867- 1657 (iR1;R90II,p5). Maybe the same as: SNBA-1890-944, Portrait de M. de Z. (dessin). Nor Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to a review of de Lora (R90II,p5), see above.

1IE-1874-31, Aquarelles.
Eng.: watercolours. Note: this is a plural form, so Brandon exhibited more than one watercolour. Nor Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to a review of de Lora (R90II,p5), see above. Compare: S1870-3144, *Quinze aquarelles; même numéro: Souvenirs d’Italie. Note: Brandon made several watercolours in Rome and also many watercolour studies, see thematical overview of his pictures.

1IE-1874-32, Exposition du corps de Sainte-Brigitte à Rome, en 1392 (carton fusain)
Eng.: Exhibition of the body of Saint Brigid in Rome, in 1392 (charcoal cardboard). Note: the same title as S1863-1979 (iR1;R90II,p5). This was a preparatory drawing for a mural cycle on the life of the saint in the oratory of Saint Brigitte in Rome (R90II,p5). Nor Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of de Lora and de Montifaud (R90II,p5). De Lora mentions it was a large carton, see above. De Montifaud just mentions the title (R90I,p30). Note: Brandon exhibited several works on Saint Brigitte at the Salon: S1861-403; S1863-262; S1863-1979 (=1IE-1874-32); S1864-244, S1864-2059?; S1865-2322+2323; S1869-2555; SNBA-1890-943+952, see also the thematical overview of his pictures.

1IE-1874-32bis, Le maître d’école.
Eng.: the master of the school. Adhémar, Moffett and Berson refer to a litho made by Emile Vernier 1874ca, The examination, etch, 16×21, Cabinet des etampes, Bibliothèque National de Paris, after a canvas made by Brandon (R89,p42;R87,p232). Berson refers to the reviews of Castagnary, Lepelletier and de Lora (R90II,p5), see above. Lepelletier only mentioned the tittle (R90I,p24). Compare: S1870-369, L’examen.

 

 

Brandon at the Salon:
Note: in 1844  there was a Lionel Brandon exhibiting at the Salon and in 1855 a R. Brandon.

S1861-403, Canonisation de sainte Brigitte
Note: Brandon exhibited several works on Saint Brigitte at the Salon: S1861-403; S1863-262; S1863-1979 (=1IE-1874-32); S1864-244, S1864-2059?; S1865-2322+2323; S1869-2555; SNBA-1890-943+952, see also the thematical overview of his pictures.

S1861-404, Le repentir de Térésina
Probably also exhibited as: Strasbourg-1864-151, Le repentir de Thérésine, (250fr). Maybe: 1861, The confession, 34×27, A2009/05/15 (iR13;iR6;iR10).

S1861-405, La jettatora di Borgo san Spirito
Eng.: the meaning of this Italian title is obscure.

S1861-406, Le jeu de la passatella
Additional info: La plèbe du Transtévère, passionnée pour ce jeu de hasard, se réunit par crainte des sbires dans le coin le plus obscur de l’hôtellerie. Le vin sert d’enjeu, et le couteau décide souvent si le vainqueur boira. Eng.: The plebs of Transtevere, passionate about this game of chance, gather for fear of the henchmen in the darkest corner of the hotel. Wine is the stake, and the knife often decides whether the winner will drink. Probably also exhibited as: Lille-1866-189, Le jeu de Passatella (cabaret romain au Transtevère).

S1863-262, La dernière messe de sainte Brigitte
Eng.: The last Mass of Saint Brigitte. Note: a neo-classical theme. 

S1863-263, La Foi, l’Espérance et la Charité; peinture à la cire
(Voir à la Peinture, Ch. II). Eng.: Faith, Hope and Charity; wax painting. Note: a neo-classical theme.

S1863-1979, Exposition du corps de sainte Brigitte; dessin au fusain
(Voir à la Peinture, Ch. I) ; Additional info: Sa fille, sainte Catherine de Suède, vient pleurer sur son corps, accompagnée des grands et du peuple. (iR1) Note: a neo-classical theme. Note: the same title as 1IE-1874-32.

S1864-244, La charité de sainte Brigitte ;
Additional text: “Souvent on la vit porter des malades à l’hôpital, aidée de son confesseur” (iR1). Now probably: 1864, The Charity of Saint Brigitte, xx, Calvet Avignon (iR6;aR10;iR1;M172). Note: a neo-classical theme. Note: Brandon exhibited 5 works on sainte Brigitte: S1863-262, S1863-1979 (=1IE-1874-32), S1864-244, S1864-2059?, S1865-2323.

S1864-245, Une rêveuse
(Voir aux Dessins, etc.). Eng.: a (female) dreamer.

S1864-2059?, Une rue à Palestrina ; aquarelle
(Voir à la Peinture). Eng.: A road in Palestine, watercolour.

S1864-2059?, Vue de la partie orientale de l’oratoire de Sainte-Brigitte, à Rome,
Additional info: avec les peintures murales exécutées par l’auteur en 1862 ; aquarelle (Voir à la Peinture). Note: a neo-classical theme. Note: Brandon exhibited 5 works on sainte Brigitte: S1863-262, S1863-1979 (=1IE-1874-32), S1864-244, S1864-2059?, S1865-2323.

S1865-286, Le dimanche de la plèbe romaine au Transtévère
(Voir aux Dessins, etc.). Eng.: Sunday of the Roman plebe in the Transtévère. Tanstevere is a quarter of Rome (iR9).

S1865-2322, Ensemble de peintures murales ; aquarelle ;
Additional info: Exécutées par l’auteur dans l’oratoire de Sainte-Brigitte, à Rome.

S1865-2323, Frise de l’oratoire de Sainte-Brigitte ; dessin au fusain
(Voir à la Peinture). Eng.: Frieze of the chapel of Saint Brigid; charcoal drawing. Brandon received in 1865 a medal (of History) (iR1).

S1866-253, *Le baiser de la mère de Moïse
Eng.: the kiss of Moses mother. Note: a neo-classical theme.

S1866-254, *Le sabbat
(Voir aux Dessins, etc)

S1866-2087, Sainte en extase ; dessin
Eng.: a saint in extasie, drawing. Compare: 1883, The prayer, on panel, 25×18, A2021/06/16 (iR14). Was part of the Degas collection. Wrongly suggested by Sothebys, to have been exhibited at the 1st ‘impressionist’ exposition in 1874.

S1866-2088, Portrait de M. J. B… ; dessin
(Voir à la Peinture)

S1867-203, *Le sermon du Daïan Cardozo ; synagogue d’Amsterdam, le 22 juillet 1866
Brandon received a medal for this work (iR6). Now: 1867, Portugese Synagogue at Amsterdam, 76×174, WAM Baltimore (M48;iR6). The WAM describes it as ‘It is a dramatically lighted interior view of one of Europe’s most famous and picturesque synagogues (consecrated 1675). The sermon is being delivered by the distinguished Talmudist David de Jahacob Lopez Cardozo (1808-1890), who was appointed “ab bet din” of the Portuguese Synagogue in 1839.’ (M48). Note, there is a smaller copy in the Louvre: 1867, le Sermon du jeune d’Ab Synagogue Portugaise d’Amsterdam, 22×46, Louvre depot MAHJ (aR10). There also are etchings made of this painting: 1867/08/02, Le sermon de Daïan Cardozo, etch, 14×30, Gazette des Beaux-Arts, now in MAHJ Paris (aR10).

S1867-204, *Le soir
(Voir aux Dessins, etc.). Eng.: the evening.

S1867-1657, Portrait de M. A, Z. ; dessin
Note: the same title as 1IE-1874-30. Maybe the same as SNBA-1890-944, Portrait de M. de Z. (dessin).

S1867-1658, La prière et la méditation ; carton de vitrail, aquarelle
(Voir à la Peinture). Eng.: Prayer and meditation; stained-glass cardboard, watercolour.

S1868-339, Un atelier parisien
Eng: a studio in Paris. Compare: 18xx, Dans atelier, etch, 20×39, A2001/12/03 (iR13;iR40). Compare also: SNBA-1890-128, Villa Malta (mon atelier); and: SNBA-1892-162, Un Regard à travers mon atelier, à Rouen; Appartient à M. Hilmont; and: HD18971213-3, L’Atelier de l’Artiste; 535fr.

S1868-340, Les fils de M. Octave Feuillet
A portrait. Now: 1867, Jacques et Richard Feuillet, 36×26, MBA Saint-Lô (iR23).

S1869-319, *La sortie de la loi le jour de sabbat
Additional info: Le lecteur de la loi (Rahzan) prend le Pentateuque dans le tabernacle, et le montre aux assistants. Un jeune garçon se dispose à orner le second Pentateuque avec les Raïms. (iR1) Now: 1868-69, Scene in a Synagogue, 156×88, Philadelphia MA (iR6;iR3;iR26;M28;aR10;R87,p232). Note: there is an etch made after it (aR10). Also exhibited as: 1IE-1874-29, Première Lecture de la Loi.

S1869-320, La leçon de Talmud (Appartient à M. Higon) ;
(Voir aux Dessins, etc). Maybe: 1869, The Talmud lesson, on panel, 10×15, A20030424 (iR14;iR13;R88I,p79).

S1869-2555, Fragment d’études d’après nature pour les peintures murales exécutées dans l’oratoire de Sainte Brigite à Rome; fusain et aquarelle.
Eng.: Fragment of life studies for the wall paintings in the oratory of Santa Brigita in Rome; charcoal and watercolour.

S1869-2556, Portrait de M. D. de P… ; dessin (Voir à la Peinture)
x

S1870-368, Le Sabbat (Appartient à M. Hadengue)
Compare: S1873-174, Le Sabbat.

S1870-369, L’examen
Compare: 1IE-1874-29, Première Lecture de la Loi and 1IE-1874-32bis, Le maître d’école; and: SNBA-1890-126, Baar-Mitzwa (l’examen).

S1870-3143, Le bûcheron et Mercure, aquarelle (La Fontaine. Fables) (Appartient à M. le baron de Boissieu)
Eng.: The woodcutter and Mercury, watercolour (La Fontaine. Fables).

S1870-3144, *Quinze aquarelles; même numéro: Souvenirs d’Italie
Eng.: Fifteen watercolours; same number: Souvenirs of Italy. Compare: 1IE-1874-31, Aquarelles.

S1873-174, Le Sabbat
Jules Claretie calls this work ‘quite small‘ and described it as ‘It is an assembly of Jews in modern costumes, their heads covered with their white linen, and this representation of a Hebrew ceremony is done with great spirit and curiosity.’ (R264,p122). Maybe the next work is an option: 18xx, The Raising of the Law in the Portuguese Synagogue of Amsterdam, 42×88, Spertus Institute Chicago (aR11), who describe the work ‘While worshipers in the foreground wear prayer shawls or traditional oriental garb, most of the figures wear genteel Western clothes consistent with the cosmopolitan character of this prosperous Jewish community.’ (aR11), this corresponds the ‘modern costumes’ of Claretie, but 42x88cm is not ‘quite small’. Compare: S1870-368, Le Sabbat (Appartient à M. Hadengue).

 

Brandon at the Salon de la Société des Artistes Français, 1889:
Note: There also was a Raoul-Jacques-Ernest Brandon, an architect who exhibited at the Salon de la Société des Artistes Français in 1905 (iR1).

SdAF-1889-358, Prière pour Léopold II, roi des Belges, dans la synagogue de Bruxelles.

SdAF-1889-2908, “Beethoven” ; Appartient à M. A. Mayrargues
Additional info: Beethoven, quelques jours avant sa mort, joue chez des artisans la Symphonie en la.

 

Brandon at the Société Nationale des Beaux-Arts:
Brandon exhibits with ‘la Société Nationale des Beaux-Arts’, according to 1 source from 1890-1897 (iR65), but according to the Salon database only in 1890, and also in 1892 + 1897 (iR1).

SNBA 1890:
SNBA-1890-118, L’Elevation de la Loi (Pentateuque)
Eng: The Elevation of the Law (The Pentateuch)

SNBA-1890-119, Vendredi saint à la Sixtine “Ténèbres”; Appartient à M. Alf. Mayrargues
Eng: Good Friday at the Sistine Chapel “Darkness”

SNBA-1890-120, Prière du matin (Synagogue d’Anvers)
Eng: Morning prayer (Synagogue of Antwerp). Compare: 1892, Morning prayer in the paardenmarkt synagogue, Antwerp, 19×31, A20171220 (iR14;iR11). This is probably a (smaller) copy dedicated to ‘l’ami fidèle Puvis de Chavannes’.

SNBA-1890-121, Controverse
Eng: Controversy

SNBA-1890-122, Béni soit le Seigneur notre Dieu !
Eng: Blessed be the Lord our God!

SNBA-1890-123, Le Sabbat à Amsterdam
Eng:

SNBA-1890-124, Mon meilleur ami
Eng: My best friend

SNBA-1890-125, A dix-huit ans
Eng: At eighteen years old.

SNBA-1890-126, Baar-Mitzwa (l’examen); Appartient au colonel d’Aguilar
Compare: S1870-369, L’examen; and also: 1IE-1874-29, Première Lecture de la Loi and: 1IE-1874-32bis, Le maître d’école

SNBA-1890-127, Coin de synagogue (Anvers)
Eng: corner of a synagogue in Antwerp.

SNBA-1890-128, Villa Malta (mon atelier)
Eng:

SNBA-1890-129, Un bronze de Cordier
Eng:

SNBA-1890-130, Saint-Pierre de Rome, le soir; Appartient à Mme Aldeg D’Hinnin
Eng: St. Peter’s in Rome, evening.

SNBA-1890-131, Solitude (Saint-Valéry-en-Caux); Appartient à Miss. G. M. S.
Eng: loneliness.

SNBA-1890-132, Oraisons ; Appartient à M. Puvis de Chavannes
Eng: Overture or offerings. Compare the 15 oraisons of Sainte-Brigitte (see iR4), these are meditations on the suffering of Christ.

SNBA-1890-133, Etude faite à la Synagogue d’Amsterdam, en 1866
SNBA-1890-134, Etude faite à la Synagogue d’Amsterdam, en 1866
Eng:

SNBA-1890-941, Sommeil (dessin) ; Appartient à Mme G. C. Oulman
Eng: sleep.

SNBA-1890- 942, Cour à Palestrina (dessin); Appartient à Elie Bacot
Eng: courtyard at Palestine (drawing).

SNBA-1890-943, Fragment des cartons de la vie de Sainte Brigitte (dessin); Appartient à l’oratoire de Sainte-Brigitte à Rome
Eng: Fragment of the cartoons of the life of Saint Brigid (drawing); Belongs to the oratory of Saint Brigid in Rome.

SNBA-1890-944, Portrait de M. de Z. (dessin)
Eng:

SNBA-1890-945, Portrait de M. Roche (dessin)
Eng:

SNBA-1890-946, Tota (dessin); Appartient à Sir Frédéric Leighton, président de la Royal Academy
Eng: meaning unknown.

SNBA-1890-947, Murs de Rome, Saint-Jean-de-Latran (dessin); Appartient à M. Goury
Eng:

SNBA-1890-948, Montfort (dessin)
Note: probably a portrait of his teacher Montfort.

SNBA-1890-949, left out

SNBA-1890-950, Osteria de la Gazza à Rome (aquarelle)
Eng: meaning unknown.

SNBA-1890-951, Souvenir d’Italie ; quatre motifs dans le même cadre (aquarelle)
Eng: Souvenir d’Italie; four motifs in the same frame (watercolour)

SNBA-1890-952, Ensemble décoratif; oratoire de Sainte-Brigitte à Rome, place Farnèse (aquarelle)
Eng: Decorative ensemble; oratory of Saint Bridget in Rome, Piazza Farnese (watercolour).

SNBA-1890-953, Menecuccia (aquarelle); Appartient à l’ingénieur A. Picard
Eng: meaning is unclear, maybe the name of a person.

SNBA-1890-954, Fra Isodoro (aquarelle)
Eng:

SNBA-1890-955, Fra Barnabeo (aquarelle); Appartient à Miss d’Aguilar
Eng:

SNBA-1890-956, Il Segator (aquarelle); Appartient au colonel d’Aguilar
Eng: The Sawyer.

 

SNBA 1892:

SNBA-1892-155, Messe capitulaire
Eng: Choir mass.

SNBA-1892-156, “Ave Maria gratia plena“; Appartient à M. Paul Babut
Eng: Hail Mary full of grace.

SNBA-1892-157, Synagogue d’Anvers ; un mariage d’émigrants
Eng: Antwerp Synagogue; an emigrant wedding

SNBA-1892-158, Miss Ophélia

SNBA-1892-159, Jean qui rit et Jean qui pleure; Appartient à M. D. M.
Eng: John who laughs and John who cries

SNBA-1892-160, Kidy; Appartient à Albert Lesanie
The meaning is unclear, maby the name of a person.

SNBA-1892-161, Oratoire; autel de Sainte-Cécile
Eng: The chapel of Saint Cecilia.

SNBA-1892-162, Un Regard à travers mon atelier, à Rouen; Appartient à M. Hilmont
Eng: A look through my studio, in Rouen.

SNBA-1892-163, Masques et visages; Appartient à M. Elie Bacot
Eng: Masks and faces.

SNBA-1892-164, Les Ronces; Appartient au docteur Paul Recius
Eng: The Brambles. Nl.: de bramen.

SNBA-1892-165, Portrait d’Eloi Brandon; Appartient à M. G. B. de M.
It is unclear how this Eloi is related to Edouard.

SNBA-1892-1121, Une série de 25 dessins
So Brandon also exhibited 25 drawings.

 

SNBA 1897:
SNBA-1897-171, La Gnamid’â ou “Prière muette”. Synagogue portugaise d’Amsterdam. Sabbat, matin 1892
Eng.: Silent prayer. Portuguese Synagogue in Amsterdam. Sabbath, morning 1892.

SNBA-1897-172, La sortie du tabernacle du Lepher Thorah. Bible
Additional info: Quelques fidèles. Service du samedi. Synagogue de Bruxelles. Eng.: The exit from the tabernacle of the Lepher Thorah. Bible. + A few devotees. Saturday service. Brussels Synagogue.

SNBA-1897-173, Lecture de Spinoza “Dieu est un”; Appartient à M. le Dr Paul Reclus
Eng.: Lecture of Spinoza “The Lord is one”.

SNBA-1897-174, Donna Bella; Appartient à M. le Dr Launois
Eng.: Pretty Woman.

SNBA-1897-175, “Dieu est un”, Service du sabbat matin à la synagogue du rite portugais; Appartient à Mme M. H. d’Alh
Eng.: God is one, Sabbath morning service in the Portuguese Rite Synagogue.

SNBA-1897-176, Une bonne vieille pipe de l’ami et maître vénéré C. Corot; Appartient à Mme M. H. d’Alh
Eng.: A good old pipe from the respected friend and master C. Corot.

SNBA-1897-177, Mon élève Fra-Ippolito da Poggio Bustone (Romagne)
Additional info: Frère mineur de l’ordre de Saint-François d’Assise, mon aide et rapin à Rome de 1856 à 1863, quand j’ai décoré, peint et sculpté l’oratoire de Sainte-Brigitte. Couvent de Sainte-Croix du Mons à Rome, place Farnèse. Eng.: my pupil Brother-Ippolito from Poggio Bustone (Romagne) + Friar Minor of the Order of St. Francis of Assisi, my helper and painter’s apprentice in Rome from 1856 to 1863, when I decorated, painted and sculpted the oratory of St. Bridget. Convent of the Holy Cross of Mons in Rome, Piazza Farnese.

SNBA-1897-1318, “L’improvisateur” (aquarelle gouachée)
Additional info: A l’ami Jouanne en reconnaissance de sa constante courtoisie. Eng.: The improviser + To our friend Jouanne in recognition of his constant courtesy. Compare: Lille-1866-190, L’Improvisatore (campagne de Rome) + 18xx, singer outside an Italian Tavern, 53×72, A20180919 (iR11;iR23;aR5) + 18xx, L’improvisateur dans la Campagne de Rome, postcard after Musée de Lille, 9×14, MAHJ (aR10;iR23;iR11).

SNBA-1897-1319, Sainte Catherine de Suède priant; Appartient au voisin et ami Thevenot
Eng.: St Catherine of Sweden praying.

SNBA-1897-1320, Types, binettes, portraits (1847 à 1897) (dessin); Appartient à l’ami S.
Eng.: Types, heads, portraits (1847 to 1897) (drawing).

SNBA-1897-1321, Il Frate Irénée (dessin)
Eng.:  The Friar Irénée  (drawing).

SNBA-1897-1322, Un quart du carton original exécuté en 1867, pour la chapelle Saint-Léonard de Limoges à Saint-Merry
Eng.:  A quarter of the original cardboard executed in 1867, for the Saint-Léonard de Limoges chapel in Saint-Merry. Note: it is not clear where Saint-Merry is located.

SNBA-1897-1323, Etudes diverses
Eng.:  different studies.

SNBA-1897-1324, Etudes à la plume, carton, plume
Additional info: Fragment du carton pour le saint Léonard de Limoges donnant le vin eucharistique à un pauvre paralytique, l’acolyte accompagne le saint. Eng.:  Pen studies, cardboard, pen. + Fragment of the carton for the Saint Leonard of Limoges giving the Eucharistic wine to a poor paralytic, the acolyte accompanies the saint.

 

Brandon at the other exhibitions:
Strasbourg, 1864/05/15 – 07/07, Société des amis des arts (aR5):
Strasbourg-1864-150, Les dimanches du peuple romain (700fr)

Strasbourg-1864-151, Le repentir de Thérésine, (250fr)
Probably also exhibited as: S1861-404, Le repentir de Térésina. Maybe: 1861, The confession, 34×27, A2009/05/15 (iR13;iR6;iR10).

Strasbourg-1864-152, Saint-Pierre de Rome, vue prise de L’arc’oscuro au coucher du soleil en hiver, (150fr)

Lille, 1866/07/22, expositions des Beaux-Arts (R248):
Lille-1866-189, Le jeu de Passatella (cabaret romain au Transtevère).
Eng.: Passatella’s game (Roman cabaret at Transtevere). Compare: S1861-406, Le jeu de la passatella.

Lille-1866-190, L’Improvisatore (campagne de Rome).
Compare 1: 1866, L’Improvisateur (The Improviser), on wood, 52×64, MBA Lille (iR23); exhibited 1866 in Lille. Describtion: scène (homme : discours, femme, enfant, boisson, gobelet : verrerie, bouteille, luth, table, siège) (iR23). Compare 2: 18xx, L’improvisateur dans la Campagne de Rome, postcard after painting in Musée de Lille, 9×14, MAHJ (aR10). Compare 3: 18xx, singer outside an Italian Tavern, 53×72, A2018/09/19 (iR11); note: this scene is just a bit different.

Musée National du Luxembourg, Paris 1912 (aR3):
MNLP-1912-69, Le Sermon du jeûne d’Ab (synagogue d’Amsterdam), 21×46 (aR3)
Probably now: 1867, le Sermon du jeune d’Ab Synagogue Portugaise d’Amsterdam, 22×46, Louvre depot MAHJ (aR10). Compare an etch: 1867/08/02, Le sermon de Daïan Cardozo, etch (in Gazette des Beaux-Arts), 14×30, MAHJ (aR10) copie painting in the Louvre (M5).

 

Works of Brandon mentioned in other sources:

1866, L’Improvisateur (The Improviser), on wood, 52×64, MBA Lille (iR23); exhibited 1866 in Lille.
scène (homme : discours, femme, enfant, boisson, gobelet : verrerie, bouteille, luth, table, siège) (iR23)

1869, La leçon de Talmud (R88I,p79)

1870, Le Sabbat (R88I,p79)

18xx, untitled, drawing / black ink, ?cm, DAG Louvre (iR23;M5a,RF2128)

18xx, untitled, drawing / black ink, ?cm, DAG Louvre (iR23;M5a,RF2129)

18xx, Ceremonie à la Synagoge (ceronomy in the Synagoge), oil on wood, 10×17, MudO Beauvais (iR23)
Additional informatie: scène (vue d’intérieur, synagogue, personnage, démon biblique, office religieux, culte diabolique, effet de lumière). Note: this information is very anti-semetic!

 

 

 

 

 

Recommanded citation: “Edouard Brandon, an account of his exhibited art-works”. Last modified 2021/10/02.  https://www.impressionism.nl/brandon-account/