Caillebotte account

 

Impressionism, a historical reconstruction:

Gustave Caillebotte

(1848-1894)

Account

of his exhibited works

 

 

Introduction:
On this page you will find an account of the works that Gustave Caillebotte exhibited at the ‘impressionist’ expositions of 1876, 1877, 1879, 1880 and 1882. The indication of a painting is sometimes uncertain. Sometimes there are more than one options. In my choices I mainly have followed the suggestions of Moffett (1986,R2), Berson (1996=R90II), Berhaut (1994=R102 + 1978=R101) and the ABCdaire (2005=R41,p116/7). When it is unknown, uncertain or disputed what work Caillebotte did exhibited, I will also consult the comtemporary reviews, when available (R90I). When I have no suggestions of a reliabel source I make connections between the french titles in the catalogues and the contemporary titles of the paintings. These suggestions of mine are (very) uncertain or just a suggestion to compare. But still I also hope that these suggestions give an impression of what Caillebotte could have exhibited at these expositions. For other used sources and additional references (=aR) see at the bottom of the main page about Gustave Caillebotte.
Lower at this page I will render a brief account of works of Caillebotte that were exhibited at other exhibitions, namely in New York in 1886 and at Les XX in 1888.

 

The 2nd ‘impressionist’ exposition 1876:

  • catalogue numbers 17-24
  • so Caillebotte exhibited 8 works
    • 0x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…); .
  • See for the suggestions of Moffett (R2,p161), Berson (R90II,p33/34+47) and Berhaut (R102,p282). Note: Moffett and Berson refer to the 1978 edition of the Catalogue Raisonné of Berhaut (=R101).
  • see link for the pictures.

1876 catalogue: (R2,p161; iR1;R90I,p48)

2IE-1876-17          Raboteurs de parquets
Now: 1875, CR28+34, the floor-scrapers, 100×145, Orsay (iR2;iR3;iR8;R2,p166;R90II,p33+47;R101,no28;R102,no34+p282;R41,p100;M1,RF2718). Note: the suggestions for no.17+18 are interchangeable and were mentioned in many reviews (R90II,p33). Also auctioned at Hôtel Drouot in 1877. Also exhibited in New York (DR1886-30) and during the 1894 retrospective (no.29) (R102,p75).

2IE-1876-18          Raboteurs de parquets
Now: 1876, CR29+35, the floor-scrapers, 80×100, private Paris (iR2;R2,p168;R90II,p33+47;R101,no29;R102,no35+p282;R41,p12). Note: the suggestions for no.17+18 are interchangeable and were mentioned in many reviews (R90II,p33). Also auctioned at Hôtel Drouot in 1877. Also exhibited during the 1894 retrospective (no.13) and the one at the Salon d’Automne (SdA1921-2708) (R102,p77).

2IE-1876-19          Jeune homme jouant du piano
Now: 1876, CR30+36, young man playing the piano, 80×116, private Paris (iR2;R2,p154;R90II,p33+47;R101,no30;R102,no36+p282;R41,p74). There were several reviews (R90II,p33).

2IE-1876-20          Jeune homme à sa fenêtre
Now: 1876, CR26+32, young man at his window, 116×81, NY private (iR2;R2,p169;R90II,p33+47;R101,no26;R102,no32+p282;R41,p72). There were several reviews (R90II,p33). Also an option for DR1886-230, exhibited in New York.

2IE-1876-21          Déjeuner
Now: 1876, CR32+37, Luncheon, 52×75, private Paris (iR2;R2,p155;R90II,p33+47;R101,no32;R102,no37+p282;R41,p53). There were several reviews (R90II,p33).

2IE-1876-22          Jardin
2IE-1876-23          Jardin
Eng.: Garden. Moffett doesn’t give suggestions for these two works, nor does Berson. Berson omits these works, which means there were no reviews (R90II,p33/4). Berhaut suggests with a ‘?’ for number 23: 1875, CR34+25, The Park on the Caillebotte Property at Yerres, 65×92, A2005/11/01 (iR2;iR11;R102,no25+p282;R101,no34). As an uncertain suggestion for no.22 I give: 1876ca, CR33+39, Garden at Yerres, 59×81, private (iR2;R101,no33;R102,no39).

2IE-1876-24          Après déjeuner
Moffett suggests CR20 (R2,p161). Berson leaves it unidentified, but also mentions CR20. This is the same is no.2 in the 1994 catalogue, but Berhaut doesn’t render a picture and mentions it has not been found (R102,p61). Rivière (reprinted by Dax, 1876/05/01) reviews ‘The Canoeist, half-reclining near a table, is his best painting;’ (R90I, p106+70;R102,p61). Berhaut states it was made in Yerres (R102,p61). To compare I render: 1872-73ca, CR4+17, Woman Seated under a Tree, 46×38, private (iR2;R102,no4;R101,no17).

 

 

The 3rd ‘impressionist’ exposition 1877:

  • catalogue numbers 1-6
  • so Caillebotte exhibited 6 works
    • 2x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…); .
  • See for the suggestions of Moffett (R2,p203), Berson (R90II,p69+85) and Berhaut (R102,p282). Note: Moffett and Berson refer to the 1978 edition of the Catalogue Raisonné of Berhaut (=R101).
  • see link for the pictures.

1877 catalogue: (R2,p203; iR1;R90I,p117)

3IE-1877-1              Rue de Paris ; temps de pluie
Now: 1877, CR52+57, Paris street, a rainy day, 212×276, AI Chicago (iR5;iR2;R2,p208;R101,no52;R102,no57+p282;R90II,p69+85). There were many reviews (R90II,p69).

3IE-1877-2             Le pont de l’Europe
Now: 1876, CR44+49, 125×181, PP Geneva (iR2;R2,p210;R101,no44;R102,no49+p282;R90II,p69+85;R41,p97). There were many reviews (R90II,p69).

3IE-1877-3             Portraits à la campagne
Now: 1876, CR31+40, Portraits in the Countryside, 95×111, MBG Bayeux, (iR2;iR3;R2,p203;R101,no31;R102,no40+p282;R90II,p69+85;R41,p99). There were many reviews (R90II,p69).

3IE-1877-4             Portrait de madame C…
Now: 1877, CR53+58, Portrait of Mme. Martial Caillebotte (The Artist’s Mother), 83×72, private (iR2;R101,no53;R102,no58+p282;R90II,p69+85;R2,p203). There were 4 reviews (R90II,p69). Compare also 4IE-1879-20 with the same title.

3IE-1877-5             Portraits
Now: 1877, CR54+62, portraits dans un intérieur, 46×56, private NY (R2,p211;R101,no54;R102,no62+p282;R90II,p69+85). There were no reviews (R90II,p69).

3IE-1877-6             Peintres en bâtiments
Now: 1877, CR48+53, The House Painters, 89×116, private Paris (iR2;R2,p203;R101,no48;R102,no53+p282;R90II,p69+85;R41,p93). There were 5 reviews (R90II,p69). Also auctioned at Hôtel Drouot in 1877. Also exhibited  during the 1894 retrospective (no.50) and the one at the Salon d’Automne (SdA1921-2710) (R102,p75).

 

 

The 4th ‘impressionist’ exposition 1879:

  • catalogue numbers 7-31 = 25 works; but Bertall writes about 35 works (R102,p283), Diego Martelli (1879/06/27+07/05) writes of almost 40 canvases (R2,p275). Almost sure is that Caillebotte exhibited 4 works outside the catalogue (=hc).
  • So in total he exhibited at least 25+4hc=29 works, including 6 pastels (no.26-31); 7 works depicting Canoers and 9 portraits.
    • 3x indication of place: no.14+28+hc4
    • 1x indication of time, season or weather: no.12
    • 0x a study
    • 6x loans (appartient à…); no.11+12+14+26+28+30.
  • See for the suggestions of Moffett (R2,p266/7), Berson (R90II,p105-107+122-126) and Berhaut (R102,p282/3). Note: Moffett and Berson refer to the 1978 edition of the Catalogue Raisonné of Berhaut (=R101).
  • see link for the pictures.

1879 catalogue: (R2,p267; iR1;R90I,p204)

4IE-1879-7            Canotiers
Now: 1877, CR75+83, Oarsmen, 81×116, private Paris (iR2;R2,p266;R90II,p105+122;R101,no75;R102,no83+p282;R41,p47). Also exhibited in New York (DR1886-272) and in the retrospective (DR1894-90). There were several reviews (R90II,p105).

4IE-1879-8            Partie de bateau
Moffett suggests CR93+122, in a private collection in Paris. Maybe: 1877, CR93, Boating Party (Canotier au chapeau haut de forme), 90×117, private Paris (iR2;R2,p266;R90II,p105+122;R101,no93;R102,no122+p282;R41,p89). There were 2 reviews (R90II,p105).

4IE-1879-9            Périssoires
Now: 1877, CR76+86, Périssoires sur l’Yerres (Boating on the Yerres), 104×156, Milwaukee Art Museum (iR2;R2,p266;R90II,p105+122;R101,no76;R102,no86+p282). There were several reviews (R90II,p105).

4IE-1879-10          Périssoires
Now: 1877, CR95+87, Skiffs (Canoeing on the Yerres), 89×116, NGA Washington (iR2;R2,p272;R90II,p105+122;R101,no95;R102,no87+p282). There were several reviews (R90II,p106). Probably also exhibited in New York (DR1886-186).

4IE-1879-11          Vue de toits ; appartient à M. A. C…
Now: 1878, CR105+97, View on the roofs, Paris, 60×73, unknown location (aR8;R2,p266;R102,no97+p282;R101,no105;R90II,p106+122). Loan by his friend A. Cassabois (R102,p109). There were several reviews (R90II,p106). To compare I also render: 1878, CR106+98, view of roofs, Paris, 50×65, private (iR2;R101,no106;R102,no98).

4IE-1879-12          Vue de toits, effet de neige ; appartient à M. K…
Now: 1878, CR107+96, view of rooftops (snow effect), 65×81, Orsay (iR2;R2,p273;R101,no107;R102,no96+p282;R90II,p106+123;M1,RF2730). Loan by an unknown mister K. (R102,p108). There were several reviews (R90II,p106).

4IE-1879-13          Canotier ramenant sa périssoire
Now: Now: 1878, CR96+123, Boater docking his canoe (Boater Pulling His Périssoire), 74×93, Richmond VMFA (iR2;R2,p266;R90II,p106+123;R101,no96;R102,no123+p292;R41,p4). There were several reviews (R90II,p106).

4IE-1879-14          Rue Halévy, vue d’un sixième étage ; appartient à M. H…
Now: 1878, CR116+100, Rue Halevy, Seen from the Sixth Floor, 60×73, private (iR2;R2,p254;R90II,p106+123;R101,no116;R102,no100+p282). Loan by Paul Hugot (R102,p110). There were 3 reviews (R90II,p106).

4IE-1879-15          Portrait de M. F…
Moffett suggests CR121. Berson also does, following Berhaut (1978=R101). The sitter is M. Feuilherade, a friend of the artist (R90II,p106). In the newer edition Berhaut doesn’t give a suggestion (R102,p282). More specific, the old number 121 is not part of the 1994 edition (R102,p312). When we consult the online version of the 1978 edition by the Wildenstein Plattner Institute (iR184), we can read that this work was in 1894 in the possession of the sister of the sitter, but the dimensions are unknown and there is no picture rendered. There were several reviews (R90II,p106). To compare I give: 1877, CR56+61, Portrait de A. Cassabois, 80×72, A2018/11/13 (iR11;R102,no61;R101,no56;R2,p267) .

4IE-1879-16          Portrait de M. G…
Now: 1878, CR82+107, Portrait of Richard Gallo, 80×65, private (iR10;iR303;R102,no107+p282;R101,no82;R90II,p106+123). There was 1 review (R90II,p106).

4IE-1879-17          Portrait de M. D…
Probably now: 1877, CR106+122, Portrait d’homme (Édouard Dessommes), 49×38, A1980/11/21 (aR8;iR10;R102,no106;R2,p266;R90II,p106). There were several (indirect) reviews (R90II,p106).

4IE-1879-18          Portrait de M. E.D…
Now: 1878, CR85+109, Portrait d’Eugène Daufresne, 100×81, Josefowitz coll (R2,p274;R90II,p106+123;R101,no85;R102,no109+p282). There were several indirect reviews and a direct one of Bertall (R90II,p106).

4IE-1879-19          Portrait de M. R…
Now: 1877, CR86+60, Portrait of a Man (M.R.), 105×81, private (iR2;R102,no60+p282;R101,no86;R2,p266). There were several indirect reviews and a direct one of Bachaumont (R90II,p106).

4IE-1879-20          Portrait de Mme C…
Now: 1878, CR85+112, Portrait de Mme Charles Caillebotte, 92×74, private (iR10;aR8;R90II,p123;R102,no112+p282;R101,no85). There were 2 reviews of Silvestre (R90II,p106).

4IE-1879-21          Portrait de Mme B…
Now: 1877, CR68+67, Portrait of Madame Boissière Knitting, 65×80, MFA Houston (iR2;R2,p266;R90II,p106+124;R101,no68;R102,no67+p282). There were no reviews (R90II,p106).

4IE-1879-22          Portrait de Mme H…
Now: 1877ca, CR55+59, Portrait of a Young Woman in an Interior, 81×65, private Paris, (iR2;iR11;R2,p266;R90II,p106+124;R101,no55;R102,no59+p282). There were no reviews (R90II,p106).

4IE-1879-23          Pêche à la ligne ; panneau décoratif
Eng.: fishing on the line (decorative panel). Now: 1878, CR89+118, Fishing, 157×113, private (iR2;R2,p267;R90II,p106+123;R101,no89;R102,no118+p282). There were some (indirect) reviews (R90II,p106). Note: The numbers 23-25 were probably meant as  decorative panels for the Yerres family estate, depicting the lessures by the riverside (R102,p118).

4IE-1879-24          Baigneurs; panneau décoratif
Now: 1878, CR90+119, Bathers, banks of the Yerres, 157×117, private Paris (iR2;R2,p267;R90II,p107+123;R101,no90;R102,no119+p282). There were some (indirect) reviews (R90II,p107). Note: the drawing of Draner in ‘Le Charivari’ (1879/04/23) with the number 24 indicates a swimmer with a striped swim-suite (R2,p255), more like in the pastel depicted in no.26 (R90II,p107).

4IE-1879-25          Périssoires; panneau décoratif
Now: 1878, CR91+120, Périssoires (The Canoes), 157×113, MBA Rennes (iR2;R41,p95;R3,p185;R2,p267;R90II,p107+124;R101,no91;R102,no120+p282). There were some (indirect) reviews (R90II,p107).

4IE-1879-26          Baigneurs (pastel) ; appartient à M. G. M…
Now: 1877, CR78+89, Bathers, Banks of the Yerres, pastel, 75×95, MBA Agen (iR2;R16,p88;R2,p267;R90II,p107+124;R101,no78;R102,no89+p283). There were some (indirect) reviews (R90II,p107).

4IE-1879-27          Canotiers (pastel)
Now: 1877, CR77+84, Boaters on the Yerres, pastel, 52×86, private Paris (iR2;R2,p267;R90II,p107+125;R101,no77;R102,no84+p283). There were some (indirect) reviews (R90II,p107).

4IE-1879-28          Vallée de l’Yerres (pastel) ; appartient à M. E. M…
Now: 1877, CR99+92, La Vallée de l’Yerres, pastel, 57×71, A2012/05/02 (iR11;R2,p267;R90II,p107+125;R101,no99;R102,no92+p283). The owner was Ernest May. There were no reviews (R90II,p107).

4IE-1879-29          Potager (pastel)
Now: 1877, CR63+78, Jardin potager, Yerres, pastel 44×58, A2018/03/22 (iR11;R2,p267;R90II,p107+125;R101,no63;R102,no78+p283). Note: Berhaut gives the suggestion with a ‘?’ (R102,p101). There was one review (R90II,p107).

4IE-1879-30          Rivière d’Yerres (pastel) ; appartient à M. K…
Moffett suggests CR100. Berson also mentions CR100, but leaves the work unidentified. CR100 of the 1978 catalogue is not found in the 1994 edition (R102,p312), where Berhaut doesn’t give a suggestion (R102,p283). When we consult the online version of the 1978 edition by the Wildenstein Plattner Institute (iR184), we don’t find a picture and the dimensions are unknown. To compare I render: 1877, Canotier sur l’Yerres, pastel + gouache, 82×66, auctioned 2014/11/04 (iR11;iR2). I couldn’t find a pastel that merely depicted the river Yerres. There is an oil painting that does, which I will also render to compare: 1875, CR21, L’Yerres, pluie (riverbank in the rain), 81×59, Bloomington IUAM (iR3;iR2;R41,p114;R102,no21;R101,no21). There were no reviews (R90II,p107).

4IE-1879-31          Prairie (pastel)
Now: 1878, CR101+127, Prairie, Yerres, pastel, 47×61, AM Tokyo (Mx;iR10;R90II,p107+125;R101,no101;R102,no127+p283). Note: Berhaut renders the suggestion with a ‘?’ (R102,p283). There was one review (R90II,p107).

4IE-1879-31+hc1  Une vache et une chèvre
Eng.: A cow and a goat. Moffett suggests this work, which was not in the catalogue (=hc= hors catalogue) was exhibited, because Draner draw in ‘Le Charivari’ a painting depicting a cow and a goat. Berson mentions that several reviews mention a work titled ‘Veau (phénomène)’ (Eng.: Calf, phenomenon) (R90II,p107+125). Leroy in Le Charivari writes ‘grazing calf and the goat’s head, its companion’ (R102,p283). Compare the drawing of (R102,no126). Compare: 1879/04/23, Draner, caricature, Le Charivari (R90I,p256;R90II,p108+125;R102,no126+p283;R2,p255). Probably auctioned 1917/11/30 at Hôtel Drouot in Paris, as ‘vache et chèvre, dans une prairie’ in a sale of the collection of widow Chaudesaigues de Tarrieux (R102,p122).

4IE-1879-31+hc2, Autoportrait au chavalet
Berson suggests that Caillebotte exhibited the following work outside the catalogue: 1879ca, CR118+132, Self Portrait with Easel, 90×115, private (iR2;R41,p32;R101,no118;R102,no132;R90II,p107+126;R90I,p252). This is not affirmed by Moffett (R2,p267), nor by Berhaut (R102,no132+p283). Berson refers to the review of X (1879/05/10) who writes ‘And the painter in his studio! … What a pose full of graceful nonchalance!’ (R90I,p252).

4IE-1879-31+hc3, Les Orangers
Now: 1878, CR87+114, Les orangers, 157×117, MFA Houston (iR3;iR2;R16,p91;R5,p11;R101,no87;R102,no114+p283;R90II,p107+125) Berhaut refers to Bec, Le Monde parisien, 1879/05/17 (R102,no114+p283). Berson refers to X (1879/05/10) who reviews ’the back of a man and half of an orange tree’ (R90I,p252).

4IE-1879-31+hc4, La place Saint-Augustin
Berhaut suggests the following work also was exhibited: 1878, CR112+103, Place Saint-Augustin, Misty Weather, 54×65, A2012/11/07 (iR2; iR11;R102,no103+p283;R101,no112). She refers to Bec in Le Monde parisien, 1879/05/17 (R102,p283). Berson doesn’t render this review (R90I).

(4IE-1879-31+hc5  Un soldat)
Moffett suggests Caillebotte exhibited outside the catalogue (=hc = hors catalogue) the following work: 1879ca, CR170+185, a soldier, 106×75, Josefowitz collection Lausanne or auctioned 2002/05/07 (iR2;iR11;R2,p275;R41,p10;R101,no170;R102,no185). Again because of a drawing of Draner in ‘Le Charivari’ in which a board guard his uniform resembles very much this soldier (R2,p255+275). This suggestion is not affirmed by Berson (R90II,p107), nor by Berhaut (R102,p283). Berhaut suggests this work was made in 1881 (R102,no185). When we compare the drawing of Draner with the painting of Caillebotte, there are many differences: in the drawing the figure wears a belt and a club and the row of buttons is different; but most of all the pose is quite different. It seems to me that Draner just depicted an attendant at the exposition, who is weary of looking at those pictures. None of the reviews that Moffett cites refer explicitely to this painting. So I also don’t support Moffett in his suggestion.

 

The 5th ‘impressionist’ exposition 1880:

  • catalogue numbers 6-16; maybe no. 8 was not exhibited and instead there was another portrait exhibited outside the catalogue (=hc)
  • so Caillebotte exhibited 11 works, including 3 pastels and including 7 portraits / figure paintings.
    • 1x indication of place, no. 13
    • 1x indication of time, season or weather, no.13
    • 0x a study
    • 0x loans (appartient à…); .
  • See for the suggestions of Moffett (R2,p310/311), Berson (R90II,p145/6+159/160) and Berhaut (R102,p283). Note: Moffett and Berson refer to the 1978 edition of the Catalogue Raisonné of Berhaut (=R101).
  • see link for the pictures.

1880 catalogue: (R2,p310; iR1;R90I,p260)

5IE-1880-6             Dans un café
Now: 1880, CR134+142, In a Café, 155×115, MBA Rouen (iR2;iR3;R101,no134;R102,no142+p283;R2,p292;R90II,p145+159;R41,p50). There were many reviews (R90II,p145).

5IE-1880-7             Portrait de M. J. R.
Now: 1879, CR117+129, Portrait of Jules Richemont, 100×81, private (iR2;R101,no117;R102,no129+p283;R90II,p145+159;R2,p310). There were 2 reviews (R90II,p145).

5IE-1880-8             Portrait de M. G. C.
Moffett suggests 1CR131, following Berhaut 1978. Berhaut just refers to the review of Silvestre (1880/04/24), but has no additional information (aR5=iR184=R101). Silvestre reviews ‘What I like best about his exhibition is his Portrait of M.G.C… standing with a hat on. His head reminds, by the modelling, the manners of Fantin-Latour and the whole figure is well treated, with independence and vigour at the same time. It is, by far, his best piece.’ (R90I,p306;aR5=iR184=R101). In the 1994 version Berhaut leaves out the former number 131 and has no suggestion for no. 8 (R102,p312+283). Berson suggests 1CR81 (=2CR111) a portrait of Paul Hugot, a work that Berhaut suggests of being exhibited hors catalogue (R102,no111+p283). Berson writes that several reviews indicate that 1CR81 (=2CR111) was exhibited and that only Silvestre (see above) links it to number 8. But there is a discrepancy between the catalogue title ‘portrait de M.G.C.’, which suggests a self-portrait, and the suggested work ‘Portrait de Paul Hugot’.
Bertall (1880/04/07) reviews ‘The man with the hat and with a stick, ‘ (R90I,p268). Japy (1880/04/03) mentions ’the striking portrait of the gentleman with the stick’ (R90I,p293/4). Mantz (1880/04/14) reviews ‘We find ourselves in the presence of a full-length portrait of a gentleman who is not without disinvolvement and who, at first sight, has nothing shocking.’ (R90I,p297). Edmond Renoir (1880/04/09) reviews ’the Portrait d’homme, The life-size full-length portrait he exhibits is far superior to what we know of him.’ (R90I,p305). M. de Thémines (1880/04/07) reviews ‘a violet gentleman on a violet background, a newspaper in his frock coat.’ (R90I,p309). Trianon (1880/04/08) reviews ‘Of the two portraits, one depicts a young man standing with a wide brimmed hat on his head, fashionable club on the shoulder, left hand in the pocket, a newspaper and gloves in the cut of the waistcoat;’ (R90I,p313). All these reviews make clear, that the portrait of Paul Hugot was exhibited. Huysmans and Trianon clearly speak of two portraits, that is besides no. 7 one other. So, I assume that the (self-)portrait of M.G.C. was left out and that outside the catalogue there was the portrait of Paul Hugot exhibited.

5IE-1880-9             Intérieur
5IE-1880-10          Intérieur
Moffett only gives a suggestion for no. 10: CR127 (=CR139) in a private collection in Paris (R2,p310+299;R101,no127;R102,no139). He also mentions this was previously thought to be CR130. Berson follows suggesting CR130 (=CR140) for number 9. Berhaut (1994=R102) suggests the other way around: CR139 (=130) for no. 9 and CR140 (=CR127) for no. 10. Berson supports her suggestions by referring to a review of Silvestre (1880/04/24) ‘His interior (no 10) contains a fairly well painted female figure in a nice tone.’ (R90I,p306). I agree with Berson. CR130/140 is also an option for DR1886-230, exhibited in New York.
I follow Moffett’s suggestion for no.10. For no. 9 I give as an uncertain option CR130, the one that Moffett reserves for no.12: 1880, CR130, Interior, woman at the balcony, 116×89, private Paris (iR2;R2,p319;R41,p62).

5IE-1880-11          Nature morte
Now: 1879, CR123+133, Still Life, 50×60, private (iR2;R2,p320;R90II,p146+160;R101,no123;R102,no133+283). Berson refers to the reviews of De Mont. and Huysmans (R90II,p146).

5IE-1880-12          Vue prise à travers un balcon
Moffett suggests CR130 (Berhaut, 1978) in a private collection in Paris (R2,p310+319). So this is the one previously thought to be no.10. Moffett also mentions that previously no.12 was thought to be CR138, a suggestion made by Berhaut (1978=R101,no138) and repeated in 1994 (R104,no147+p283). Berson leaves the work unidentified, she refers to the review in Tout-Paris (1880/04/02) where it is only mentioned (R90I,p312). I don’t follow Moffett in his suggestion. I think CR130 is more fit for no.9. And I think the title of  CR138/147 ‘View Seen Through a Balcony’, is more close to the title in the catalogue. So probably: 1880, CR138/147, View Seen Through a Balcony, 65×54, VGM Amsterdam (iR2;R101,no138;R102,no147+p283;R41,p42;M73).

5IE-1880-13          Vue de Paris, soleil
Moffett suggests CR142 perhaps Josefowitz Collection, Berson mentions CR142, but leaves the work unidentified. Berhaut suggests: 1878, CR97/105, Sunny view of Paris, 105×74, Josefowitz Lausanne (iR49;R101,no97;R102,no105;R90II,p146;R2,p310). Note: The CR142 from the 1978 catalogue is not found in the one from 1994 (R102,p312). In the online version CR142 just refers to the title in the 1880 catalogue (aR5=iR184=R101). Berson refers to the reviews of Trianon and Huysmans that also can refer to no.16. Huysmans (1883) just writes ‘a landscape very fair in tone’ (R90I,p287). Trianon (1880/04/08) reviews ‘… and a landscape. The landscape is beyond our comprehension. We won’t talk about it. ‘ (R90I,p313). Note: both just refer to one landscape. Both don’t give a description.

5IE-1880-14          Portrait de M. C. D. ; pastel
Now: 1877, CR71/70, Camille Daurelle in the Park at Yerres, pastel, 56×44, private (iR2;R2,p310;R90II,p146+160;R101,no71;R102,no70+p283). Huysmans (1883) reviews about ‘a child in a garden’ (R90I,p287). Japy (1880/04/03) reviews about ‘2 children in a blue blouse’ (R90I,p294). Probably als exhibited in New York (DR1886-146).

5IE-1880-15          Tête d’enfant; pastel 
Now: 1877, CR70/69, Portrait of Camille Daurelle, pastel, 40×32, private (iR2;R2,p310;R90II,p146+160;R101,no70;R102,no69+p283). Japy (1880/04/03) reviews about ‘2 children in a blue blouse’ (R90I,p294).

5IE-1880-16          paysage; pastel    
Moffett suggests with a perhaps CR102 auctioned in Hôtel Drouot on 1972/03/09 under no.131. Berson following Berhaut (1978) also suggests CR102 (R90II,p146+160;R101,no102). Berhaut renders this suggestion with a ‘?’ (R102,no128+p283). Berson refers to the reviews of Trianon and Huysmans that also can refer to no.13. Huysmans (1883) just writes ‘a landscape very fair in tone’ (R90I,p287). Trianon (1880/04/08) reviews ‘… and a landscape. The landscape is beyond our comprehension. We won’t talk about it. ‘ (R90I,p313). Note: both just refer to one landscape. Both don’t give a description. The title is very common, so hard to identify. I couldn’t find many pastels Caillebotte has made. Of CR102/128 I only could find a black and white picture. Compare also the pastels of the Yerres plain and valley exhibited as 4IE-1879-28+31. Compare also his later serie of plains in 1883+84 (R102,no267-9+289-293).

5IE-1880-16+hc, Portrait de Paul Hugot
See the account given at no.8.

 

The 7th ‘impressionist’ exposition 1882:

  • catalogue numbers 1-17
  • Caillebotte probably also exhibited 1 work outside the catalogue (=hc) and probably not a second
  • so Caillebotte exhibited 17+1hc=18 works, including 9 works made at the Normandy coast and 5 portraits / figure paintings.
    • 3x indication of place, no.7+9+12
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…); .
  • See for the suggestions of Moffett (R2,p394), Berson (R90II,p201/2+215/6) and Berhaut (R102,p283). Note: Moffett and Berson refer to the 1978 edition of the Catalogue Raisonné of Berhaut (=R101).
  • see link for the pictures.

1882 catalogue: (R2,p394; iR1;R90I,p377)

7IE-1882-1            Partie de bézique
Now: 1880-81, CR165/183, Game of Bezique, 121×161, Louvre Abu Dhabi (iR2;iR11;R2,p394+396;R101,no165;R102,no183+p283;R90II,p201+215;R41,p90). There were several reviews (R90II,p201).

7IE-1882-2            Homme au balcon
Now: 1880, CR139/149, Man ont the balcony (Boulevard Haussmann), 117×90, A2000/05/08 (iR3;iR11;iR15;R41,p67;R2,p394;R90II,p201+215;R101,no139;R102,no149+p239). There were several reviews (R90II,p201). See also the drawing of Draner (1882/03/09) in Le Charivari (R2,p387;R90I,p417).

7IE-1882-3            Chemin montant
Moffett mentions this was previously thought to be CR176 (R101), but he doesn’t give an alternative. Berson and Berhaut refer to a charicature of Draner, which I render to compare: 1882/03/09, Draner in Le Charivari (R2,p387;R90I,p417;R102,no158+p283). Christies claims it was a work auctioned 2003/11/04 (iR15), now: 1881, CR-, Rising road (Chemin montant), 100×125, A2003/11/04 (iR6;iR15;iR2;iR11). To the left we can see the same villa ‘Italien’ in Trouville as seen in CR151/164; in the auctioned work we see that Caillebotte has flattened his rising road (iR15). Jacques de Biez (1882/03/08) reviews ‘His Chemin montant with its contrasting red parasol on a blue dress is not lacking in brightness.’ (R90I,p380). Paul de Charry (1882/03/14) reviews ‘The Chemin montant is an alley that doesn’t go up, but very pretty, very natural, and all sunny without the usual fantasy. ‘ (R90I,p384;iR15). Fichtre (1882/03/02) reviews ‘The marital couple he depicts, always seen from behind, and emerging from a pond, is truly painful to look at.’ (R90I,p387;iR15). Henry Robert (1882/03/05) reviews ‘His Chemin montant is of perfect verity. on the green road, on the stone of the house, on the foliage of the trees, the sun stops, settles, vibrates, and, with a real talent for observation, the artist has reproduced the same effect of colouring on the couple placed in that warm August afternoon.’ (R90I,p410). These reviews leave no doubt that the auctioned work, is the work exhibited as no.3, so I fully agree with the suggestion of Christies.

7IE-1882-4            Fruits
Now: 1880-82ca, CR178/193, Fruit Displayed on a Stand, 74×100, MFA Boston (iR2;R2,p374+394;R90II,p201+215;R101,no178;R102,no193+p283;R41,p82). There were 4 reviews (R90II,p201).

7IE-1882-5             Portrait de M. G.
Now: 1881, CR167/182, Portrait of Richard Gallo, 97×116, NAMA Kansas City (iR6;R2,p394;R90II,p201+215;R101,no167;R102,no182+p283). There were several (indirect) reviews (R90II,p201).

7IE-1882-6            Portrait de M. F.
Now: 1881, CR169+181, Portrait de Jules Froyez, 100×82, unknown (iR10;aR8;R90II,p201+215;R90I,p417;R102,no181+p283;R101,no169;R2,p394+387). Draner (1882/03/09) made a caricature of this painting in Le Charivari (R2,p387;R90I,p417), which I will also render. To compare I also render another portrait of Jules Froyez: 1878-79ca, CR119+130, Portrait de Jules Froyez, 82×65, private (aR8;R102,no130;R101,no119;R2,p394). There were several (indirect) reviews (R90II,p201).

7IE-1882-7            Villers-sur-Mer
Now: 1880, CR153+165, View of the sea, Villers, 54×65, unknown (aR8;R101,no153;R102,no165+p283;R2,p394;R90II,p201+215). Berson refers to reviews of Silvestre and Huysmans (R90II,p101). To compare I also render: 1880, CR150+162, Villas at Villers-sur-Mer, 65×81, A2011/05/04 (iR11;R101,no150;R102,no162).

7IE-1882-8            Marine
Now: 1880ca, CR152/167, Seascape, Regatta at Villers, 74×100, private (iR2;R2,p394+397;R101,no152;R102,no167+p283;R90II,p201+216;R41,p79). Compare no. 14. There were 3 (indirect) reviews (R90II,p201).

7IE-1882-9            Route d’Honfleur à Trouville
Eng.: the road from Honfleur to Trouville. Now: 1881, CR174+190, Route de Honfleur à Trouville, 81×65, private (aR8;R101,no174;R102,no190+283;R2,p394;R90II,p201+216). There were no reviews (R90II,p201).

7IE-1882-10          Boulevard vu d’en haut
Now: 1880, CR143/154, Boulevard Seen from Above, 65×54, private (iR2;R101,no143;R102,no154+p283;R90II,p201+216;R2p375;R41,p41). There were several reviews (R90II,p201).

7IE-1882-11          Balcon
Now: 1880, CR136/146, A Balcony, 69×62, private, (iR2;iR3;R2,p398;R90II,p201+215;R101,no136;R102,no146+p283). There was 1 (indirect) review (R90II,p202).

7IE-1882-12          Paysage (environs de Trouville)
Probably: 1881, CR171/188, Landscape near Trouville (the Toucques valley), 60×82, private (iR10;aR9;iR59;R101,no171;R102,no188+p183;R2,p394). Note: Moffett joins his suggestion with a ‘perhaps’ (R2,p394) and Berhaut with a ‘?’ (R102,no188+p283). There were 3 reviews (R90II,p202). Compare no.9 which is also made in Trouville.

7IE-1882-13          Bois près de la mer
Eng.: Wood near the sea. Now: 1880, CR154+172/166, Wood near the sea, 65×55, unknown (aR8;R101,no154+172;R102,no166+p283;R2,p394;R90II,p202). Note: Berson leaves the work unidentified, referring to CR172 where the work is just mentioned and not rendered (R101,no172). In the 1994 catalogue Berhaut combines the older numbers 154+172 (R102,no166). Berson refers to the reviews of Hustin (1882/03/03+10) who just mentions the work (R90I,p395+396).

7IE-1882-14          Marine, pastel
Moffett suggests CR173, where Berhaut just mentions the work from the 1882 catalogue (aR5=iR184=R101,no173). In the 1994 catalogue Berhaut doesn’t render this work anymore and doesn’t give a suggestion for no.14 (R102,p312+283). There were some (indirect) reviews (R90II,p202). To compare I render: 1882, CR189+219, Voiliers en mer, 54×65, private (aR8;iR10;aR3;R101,no189;R102,no219). An oil painting probably made later that year in the summer of 1882 in the surroundings of Trouville. Compare also no.8.

7IE-1882-15          Pommiers
Maybe: 1880, CR161/173, Apple Trees on edge of Sea, Trouville, 65×55, A2008/06/25 (iR2;iR11;R2,p394;R101,no161;R102,no173+p283;R90II,p202). Moffett and Berhaut are uncertain in their suggestion. Berson leaves the work unidentified. She mentions sources that suggest this work was a pastel. It is André C. (1882/03/07), who reviews ‘It is important to notice three pastels titled Marine, Pommiers and Chemin vert, …’ (R90I,p383). Also J.P. (1882/04/03) writes about ’three adorable pastels’ (R90I,p408). Meurville (1882/03/18) reviews ‘The little corner of the orchard called Pommiers, is excellent; this is true to life,  were it not better to call it Moitié d’un pommier.’ (R90I,p404). Berson concludes ‘Meurville … does not appear to describe Berhaut no.161’ (R90II,p202). I, on the contrary, think that his review can fit what the painting depicts. So I render the work with a ‘maybe’. If this exhibited work was a pastel, the following work could be an option: 1880, CR157+171, Orchard in Normandie, pastel, 54×44, private (aR8;iR10;iR128;aR3;R102,no171;R101,no157), also exhibited in the retrospective (DR1894/06/04-71).

7IE-1882-16          Chemin vert
Eng.: green road. Maybe: 1881, CR175+191, Chemin Couvert en Normandie, 50×54, private (aR8;R101,no175;R102,no191+p283;R2,p394;R90II,p202). Berson leaves the work unidentified and mentions sources that suggest this work was a pastel (R90II,p202). It is André C. (1882/03/07), who reviews ‘It is important to notice three pastels titled Marine, Pommiers and Chemin vert, …’ (R90I,p383). Also J.P. (1882/04/03) writes about ’three adorable pastels’ (R90I,p408). In that case the next work is an option: 1880, CR158+172, Route en Normandie, pastel, 54×44, private (aR8;iR10;aR3;R102,no172;R101,no158;R90II,p202) , also exhibited in the retrospective (DR1894/06/04-72).
As two uncertain suggestions for no.16 and for no.9 ‘route d’Honfleur à Trouville’ = CR174 I give: 1880, Allée sous bois (en Normandie), 66×54, private (iR6) and: 1882, Allée sous-bois en Normandie, xx, xx (iR6).

7IE-1882-17          Pêcheur
Now: 1876-78ca, CR36+117, Fishermen on the Banks of the Yerres, 66×50, private (iR2;iR49;R101,no36;R102,no117;R2,p394;R90II,p202+216). Note the difference between the singular in the 1882 title and the plural in the title of the painting. There were no reviews (R90II,p202). Compare 1885ca, CR323, Pêcheur relevant sa ligne, 25×20, private (aR8;R102,no323), if this work was made earlier it could be an option; I do not render this option.

7IE-1882-17+hc1, La Samaritaine.
Berson suggests Caillebotte exhibited this work outside the catalogue (=hc) (R90II,p202+283), but she doesn’t identify the work. Nor Moffett, nor Berhaut affirm her suggestion (R102,p283;R2,p394). Berson refers to the review of Nélesque (1882/03/19), who reviews ‘I would ask him, I say, why, representing the Samaritane, he painted the water red, blue, yellow, green and orange? But he knows the Seine well.’ (R90I,p405). In a note Berson suggests: ‘The subject of this work may well be the Pont-Neuf pump, called La Samaritaine, which brought water to the Louvre.’ (R90II,p202). This was close to the department store ‘La Samaritaine’ that is now located near the Pont Neuf and build between 1905-1910 (iR3). The site paristoric.com writes that the pump was build between 1712-19 and destroyed in 1813. Wikidata writes it was build earlier between 1605-8, but affirms that it was destroyed in 1813 (iR66). This means, it had disappeared when Caillebotte painted the exhibited work. Old photos of the second half of the 19th century show a boat with bathing facilities, that was also called La Samaritaine; it was destroyed in 1919 (iR10; see link). When I look at the catalogue raisonné of Berhaut to the works painted before 1883 only CR142/105 depicts the Seine near the Pont-Neuf (R102,no105). Later on he would merely paint the Seine between Argenteuil and Gennevilliers. One of these works, in which he uses many colours for the water, I will render to compare: 1885, CR310/334, The Argenteuil Bridge and the Seine, 65×82, Josefowitz coll Lausanne (iR2;iR11;R17,p155;R41,p17;R3,p244;R101,no310;R102,no334). To compare I also render a work of Pissarro from 1902 depicting the Samaritaine: Pissarro, 1902, CCP1417, The Baths of the Samaritaine, Afternoon, 39×46, private (iR10;iR122;R116,no1417;R90II,p202).

(7IE-1882-17+hc2    Couple sortant d’une mare)
Eng.: Couple leaving (for) the lake. Moffett mentions Caillebotte showed this work outside the catalogue (R2,p394). He doesn’t give additional info and doesn’t refer to a number in the Berhaut catalogue. Berson doesn’t follow this suggestion (R90II,p202), nor does Berhaut (R102,p283). Maybe the suggestion of Moffett is based on the review of Fichtre (1882/03/02) ‘le couple … sortant d’une mare…’ (Eng. The marital couple he depicts, always seen from behind, and emerging from a pond, is truly painful to look at.)’ (R90I,p387;iR15). But we have seen that this review fits no.3. So I don’t follow Moffett in his suggestion.

 

Caillebotte at other exhibitions:
The Catalogue Raisonné of Berhaut indicates that works of Caillebotte were present at 3 other exhibitions (R102,p283).

1886, New York:
In 1886 Durand-Ruel had sent in 10 works of Caillebotte to the famous exhibition in New York called “Works in Oil and Pastel by the Impressionists of Paris” (R334/iR19)

 

1888, Brussels, Les XX:
In 1888 Caillebotte was invited to exhibit with the 5th exhibition of Les XX in Brussels.

5XX-1888-1, Homme au bain
=CR286

5XX-1888-2, Portrait de M. J.D…
=CR320

5XX-1888-3, Portrait de M. R.G…
=CR305

5XX-1888-4, Portrait de M. E. J. F…
=CR319

5XX-1888-5, Étude de soleils
=CR336

5XX-1888-6, Un bras de Seine
=CR381.

5XX-1888-7, Cerisiers en fleurs
=CR327

5XX-1888-8, Nature morte.
=CR196

 

1888, Durand-Ruel, Paris:
1888/05/25 – 06/25 there was an exhibition of impressionists at the Durand-Ruel gallery at 11, Rue le Peletier in Paris. Of Caillebotte 6 works were exhibited.

DR1888-8, Jardin
=??

DR1888-12, Petit bras à Argenteuil
=CR381

DR1888-62, Champ jaune et rose
=CR291

DR1888-63, Canotiers
=??

DR1888-64, Champ jaune
=CR267

DR1888-Au bord de l’eau
=??

 

Posthumous Retrospectives:

1894, Durand-Ruel:
Shortly after Caillebotte his death (1894/02/21) Durand showed 122 works in “Rétrospective d’oeuvres de Gustave Caillebotte” from the 4th till the 16th of June (R102,p288).

1921, Salon d’Automne:
In 1921 there was a retrospective held with 49 works of Caillebotte at the Salon d’Automne (R102,p288).

 

 

 

Recommanded citation: “Gustave Caillebotte, an account of his exhibited works. Last modified 2023/09/17.  https://www.impressionism.nl/caillebotte-account/.”