Cals account

Adolphe-Félix Cals (1810-1880)

account

of his exhibited works

 

 

Introduction:
On this page you will find an account of which paintings Cals has exhibited at the ‘Impressionist’ Expositions in 1874, 1876, 1877, 1879 and posthumously in 1881 (see pictures). As indicated earlier the indication of a painting is often uncertain. Often there are more than one options. In my choices I mainly have followed the suggestions of Moffett (1986=R2), Berson (1996=R90) and Dayez (1974=R87). Moffett sometimes refers to Delestre, see ‘further reading’ below the main page of Adolphe-Félix Cals. Further on I made connections between the french titles in the catalogues and the contemporary titles of the paintings. These suggestions are very uncertain or just a suggestion to compare. (See here for the general references (=R) and here for references to internet pages (=iR).
Furthermore you will find a less extended account of the works Cals exhibited at the Salon from 1835 – 1870. My main source for this is the Salon database (iR1).

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 36-41
  • according to Jaconde (iR23) Cals exhibited a self-portrait that was not in the catalogue (=hc)
  • so in total Cals probably exhibited 6+1hc=7 works in 1874
    • 1x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 3x loans (appartient à…);
    • 6x figure painting and 1x a landscape
  • See for the suggestions of Moffett (R2,p120), of Dayez / Adhémar (R87,p233/4) and of Berson (R90II,p6+21). Moffett and Berson refer to Delestre (1975=R194).

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).

Catalogue 1874:

1IE-1874-36          Portrait de Madame Ed. G.
Moffett suggests with a perhaps Delestre no.20 (Berson repeats this) or a work in a private collection in Connecticut; it is unclear to me which works these are. Joconde (iR23) suggests: 1874, Portrait de jeune fille, 38×33, MBA Dijon (iRx;iR23;iR10), which I render.

1IE-1874-37          Le Bon Père Pêcheur à Honfleur ; appartient à  M.M…
Eng.: The Good Father Fisherman in Honfleur. Moffett suggests Dayez / Adhémar (=R87,p234, rendered in black and white). Berson renders an illustration from Alexandre (aR2,144+208) and mentions the original is sized 120×100 and was part of the Mignon collection. In his last decade Cals made many pictures in Honfleur, where he also lived. Honfleur lies just south of Le Havre (iR10). De Montifaud (1874/05/01) reviews that Cals (and Debras) is fallen into a sort of illustrative painting and describes this painting as ‘a parody on Gustave Doré’ ‘a heavy and crushed paste’ (R87,p267;R90I,p29). I render the scan of Berson.

1IE-1874-38          Vieux pêcheur ; appartient à  M.R…
Eng.: The old fisherman. Moffett suggests Delestre no.19. Adhémar suggests: 1873, Vieux Pêcheur, 115×89, private (HW;R87,p234;R45,p68). In the posthumous catalogue of the Henri Rouart collection of 1912, there is this description of the work ‘le vieux pécheur’: Assis et vu de face, vêtu de son costume de pêche, les mains sur les genoux et le chapeau sur la tête. A droite, sur une table, une écuelle et un morceau de pain. Signé à droite, dans le haut, avec la mention Honfleur. Toile. — Haut. : 1 m. 15 ; larg. : 89 cm (R45,p68).  Eng.: ‘Seated and seen from the front, dressed in his fishing costume, hands on his knees and hat on his head. On the right, on a table, a bowl and a piece of bread’.

1IE-1874-39          Paysage ; appartient à  M.H…
Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. Maybe M.H… is Hoschedé. As a very uncertain suggestion I render: 18xx, Paysage, 29×37, A2009/10/28 (iR13;iR11). This picture maybe is taken from Saint-Siméon farm with a view on the sea.

1IE-1874-40          Bonne femme tricotant
Eng.: Good knitting woman; Nl. Een breiende vrouw. Moffett doesn’t give a suggestion, nor does Berson, who refers to a review of De Lora. To compare I render: 18xx, Femme cousant, 42×35, MBA Bordeaux (iR23). Note: cousant means sewing or stitching.  Félix Pothey, alias Léon de Lora (1874/04/18) reviews it was ‘studied with great care’ (R87,p257;R90I,p27). 

1IE-1874-41          Fileuse
Eng.: spinner. Moffett doesn’t give a suggestion. Berson renders: 1860, La Fileuse bleue, 39×30, xx(R90II,p21+6;aR2,208). The same as ‘La Fileuse’ in the posthumous catalogue of the Henri Rouart collection of 1912, described as: Elle est assise avec sa quenouille dans un intérieur de paysan près d’une fenêtre et devant un rouet. (Eng.: She sits with her distaff in a peasant’s interior near a window and in front of a spinning wheel.) Signé à gauche et daté 1860. Salon de 1860. Exposition centennale de l’Art français, 1889, n° 117 du catalogue. Toile. — Haut : 40 ( ?) cm. ; large : 31 cm (R45,p69). I render the black-and-white reproduction from Berson. To compare I also render: : 18xx, La fileuse et son enfant, 37×26, A2015/11/22 (iR13), also an uncertain option for no.291 exhibited at the Salon of 1846. Another option I also render is: 18xx, La fileuse, 19×18, A2014/10/03 (iR13).

1IE-1874-41+hc
According to Joconde (iR23) Cals also exhibited his Self-portrait made in 1851. This suggestion is not affirmed by other sources. I assume Joconde is right and render: 1851, Self-portrait, 47×39, Orsay . Note: Adhémar renders the picture, but doesn’t suggest it was exhibited (R87,p233).

 

 

The second ‘impressionist’ exposition 1876:

  • catalogue numbers 25-35
  • in total  Cals exhibited 11 works, including 3 drawings
    • 3x indication of place
    • 2x indication of time, season or weather
    • 0x a study
    • 0x loan (appartient à…)
    • 5x figure paintings and 6x landscapes
  • See for the suggestions of Moffett (R2,p161) and of Berson (R90II,p34+48). Moffett refers to Delestre (1975=R194).

Catalogue 1876:

2IE-1876-25          Soleil couchant
There were no reviews. Moffett and Berson suggest with a perhaps a work in the Musée d’Orsay (no.874) or Delestre no.17. I render the Orsay painting: 1873, Soleil couchant, Honfleur, 36×60, Orsay (iR6;iR76;Mx). Compare: 4IE-1879-33. Maybe this work also depicts the farm of Saint-Siméon.

2IE-1876-26          Ferme de Saint-Siméon, printemps
Eng.: the farm of Saint-Siméon, spring. Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. Cals made many pictures of the farm of Saint-Siméon in Honfleur. I can’t find a picture that adds or depicts spring. See also 2IE-1876-30. To compare I render a later work: 1877, Les marins à Saint-Siméon, 42×58, A2001/03/28 (iR13;iR6;iR35). 

2IE-1876-27          Sous les arbres
Eng.: Under the trees. Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. Many pictures made at the farm Saint-Siméon are made under the trees. As a very uncertain suggestion I render: 18xx, Landscape with a Farmyard, 25×33, AMAA Oxford, (iR2;iR35). 

2IE-1876-28          Madelaine
Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. This must be a portrait of a (young) woman. As an uncertain suggestion I render: 1876-78, Portrait de jeune femme de trois quarts (a la robbe grise (and white scarf), 41×33, A2007/06/27 (iR13;iR11). 

2IE-1876-29          Femme allaitant son enfants
Eng.: Women breastfeeding her children. There were no reviews. Moffett doesn’t give a suggestion. Berson refers to a work in the Count Doria collection: 1875, La heureuse mère. I suggest this work for 4IE-1879-32. As an uncertain suggestion I render a work that is dated a year later: 1877, Mère et ses enfants au Saint-Siméon (the loving mother), 131×161, A2005/02/15 (iR13;iR17). Note: The catalogue title has the plural form ‘enfants’, where this mother is breastfeeding one child, but there is a second child next to her. The review of L’audience (1876/04/09) only mentions it draws attention (R90I,p53). 

2IE-1876-30          A la ferme de Saint-Siméon
Eng.: At the farm of Saint-Siméon. There were no reviews. Moffett doesn’t give a suggestion. Berson suggests: 1876, A sunday in Saint-Siméon (La Cueillete des pommes), 60×120, A1998 (iR6;iR13;iR14;iR35;R2,p161;R90II,p34+48;aR2,p210). Compare: 4IE-1879-42, Le dimanche à Saint-Siméon, Honfleur, dessin. Berson her suggestion is based on the basis of subject and date. This work was formerly part of the Doria collection; I wonder since when. Cals made many pictures of the farm of Saint-Siméon. As an uncertain extra suggestion I render: 1875, Le déjeuner à Honfleur, luncheon, 45×54, Orsay (iRxx;iR23;R3,p124). This work was part of the Henri Rouart collection (iR23). And also a smaller, similar work dated a bit earlier: 1875ca, le jardin de la ferme Saint-Simeon, Honfleur, 24×34, A2011/10/26 (iR11;iR41;R2,p161). 

2IE-1876-31          Cour à Honfleur
Eng.: Courtyard in Honfleur. There were no reviews. Moffett doesn’t give a suggestion. Berson suggests: 1872, Intérieur de cour à Honfleur, 55×65, xx (R90II,p48+34;R2,p161); part of the Doria sale at Georges Petite 1899/05/04. Berson made her suggestion on the basis of subject and date. To compare I also render: 1865, Cour de ferme à Honfleur, 41×33, A2010/02/19 (iR11). Compare 3IE-1877-7. Compare also ‘Intérieur d’une cour’ (Eng.: inside a courtyard) from the posthumous catalogue of the Henri Rouart collection of 1912, described as: Bâtiments à poutres apparentes, le premier étage surplombant. Pécheurs, femmes et enfants aux fenêtres. Ouvrant sur la rue, une grande porte par laquelle entre une fillette un panier sous le bras. Premier plan dans l’ombre. Effet de lumière au fond sur la porte et sur la rue (R45,p69). Eng.: Buildings with exposed beams, the first floor overhanging. Fishermen, women and children at the windows. Opening onto the street, a large door through which a little girl enters a basket under her arm.

2IE-1876-32          La leçon
Eng.: the lesson. Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. As a very uncertain suggestion I render: 1855, Les conseils maternels, 46×56, A1995/05/24 (iR13), probably earlier exhibited at the Salon of 1859 (no.474). Another option could be: 18xx, petite file lisant à la chandelle, 30×29, A2017/06/15 (iR11). Compare S1864-303, La lecture. 

2IE-1876-33          Portrait de Mme X… (dessin)
Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. As an uncertain suggestion I render: 1876, Portrait de femme, de trois quarts vers la gauche, dr, 36×28, Louvre (iR23). And also: 18xx, Femme vue à mi-corps, de face, assise, les mains croisées sous la poitrine, dr, 19×15, Louvre (iR23;R244;R2,p161). this work probably was part of the posthumous Rouart collection sale in 1912, Femme assisse, 19×15 (or45) (R45,p114): Elle est vue de face, la tête penchée vers la gauche, les mains croisées sur la ceinture. A gauche, cachet de la vente. Dessin au crayon noir. — Haut. : 19 cm. ; larg. ;45 ( ?)H cm. (Eng.: She is seen from the front, her head bent to the left, her hands crossed on the belt. On the left, stamp of the sale.)

2IE-1876-34          Les enfants du pêcheur (dessin)
Eng.: the children of the fisherman (drawing). Moffett doesn’t give a suggestion. The review of L’audience (1876/04/09) only mentions it draws attention (R90I,p53). To compare I render: 18xx, Portrait de jeune garçon, dr, 62×25, A2011/10/10 (iR11). 

2IE-1876-35          Le repas frugal (dessin)
Eng.: The frugal / sober meal (drawing). Nl: De sobere maaltijd (tekening). Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. Probably now: 1875, repas frugal à Saint-Siméon, dr, 19×24, A2012/12/16 (iR13). 

 

 

The third ‘impressionist’  exposition 1877:

  • catalogue numbers 7 – 16
  • so in total  Cals exhibited 10 works
    • 3x indication of place
    • 2x indication of time, season or weather
    • 1x a study
    • 0x loans (appartient à…),
    • 6x figure paintings and 4x landscapes
  • See for the suggestions of Moffett (R2,p203), Berson (R90II,p69/70+86)

reviews:
La Republique français (1877/04/10) reviews: ‘Mr. Cals, a skilled practitioner, sent in: (mentioning no.9, 10, 11 and 14), greasily brushed, and of a warm and solid colour.’ (R90I,p176). De Lora (1877/04/10) reviews ‘The first one (=Cals), who has sentiment and a rather oily texture, will soon regret having strayed into the imressionist crossroads. ‘ (R90I,p163).

catalogue 1877:

3IE-1877-7             La cour Saint-Siméon, à Honfleur
Moffett doesn’t give a suggestion. A.P.  (1877/04/07) just refers to ‘les sites de Honfleur’ (R90I,p173). As an uncertain suggestion I render: 1876-79, Honfleur Saint-Siméon, Grand Cour (la grande ferme à Honfleur), 35×54, MBA Caen (HW;iR6;iR35). Compare 2IE-1876-31.

3IE-1877-8             Paysage, à Saint-Siméon
There were no reviews. Moffett and Berson suggest (with a perhaps), following Isaacson (R175,no9): 1876, Landscape with figures (at Honfleur), 37×63, Philadelphia MA. I also render this work.

3IE-1877-9             Jeune mère
Eng.: a young mother. Moffett doesn’t give a suggestion. La Republique français (1877/04/10)  just mentions the work (R90I,p176). Fillonneau (1877/04/20) reveiews: ‘M. Cals painted a young mother that no artieste worthy of the name would disapprove of. ‘ (R90I,p146).  As a very uncertain suggestion I render: 18xx, Mère avec son enfant et un chat, 19×19, A2007/06/20 (iR11).

3IE-1877-10          La rue Varin, à Honfleur
Moffett doesn’t give a suggestion. Jacques (1877/04/11) reviews ‘I have so little room that I have to go back to Paris very quickly, despite my desire to stroll with Mr. Cals through the streets of Honfleur, – la rue Varin, for example, narrow, with pointed roofs, picturesque, at the end of which, – very far away – the sky becomes brighter;’ (R90I,p156). De Lora (1877/04/10) reviews ‘his Rue Varin, à Honfleur, leaves nothing to be desired than a little more accent in the figures.’ (R90I,p163). A.P.  (1877/04/07) just refers to ‘les sites de Honfleur’ (R90I,p173). La Republique français (1877/04/10)  just mentions the work (R90I,p176). Berson suggests on the basis of subject and date: 1877, A street scene in Honfleur, 64×43, A1978/10/18 (R90II,p86+70;R2,p203;iR14). Compare also: 18xx, Intérieur rustique à Honfleur (L’intérieur, rue Varin à Honfleur), 28×38, A2009/06/12 (iR13;iR10). See map (iR10).

3IE-1877-11          Femmes effilant de l’étoupe
Eng.: women unknotting the cotton (?). Moffett doesn’t give a suggestion. La Republique français (1877/04/10)  just mentions the work (R90I,p176). Ph. M. (1877/05/01) just mentions this work (R90I,p164). Mailard (1877/0409) refers to an interieur probably of Cals (R90I,p165). Sébillot (1877/04/07) just mentions the work (R90I,p190). According to Berson and Joconde now: 1877, Woman fraying linnen (Honfleur), 51×62, Orsay (iR39;iR23;R90II,p70+86;R2,p204;R16,p19). Note: Berson mentions that Alexandre doesn’t identify this work (aR2,p210).

3IE-1877-12          Le coin du feu
Eng.: The fire corner. Moffett doesn’t give a suggestion, nor does Berson. Ph. M. (1877/05/01) just mentions this work (R90I,p164). Sébillot (1877/04/07) just mentions the work (R90I,p190). Guillemot (1877/04/19) just mentions it was ‘pleasantly composed’ (R90I,p154). As an uncertain suggestion I render: 1859, A Peasant in Front of a Hearth, 28×36, Cherbourg MATH (iR39;iR10). Compare 4IE-1879-44, Le coin du feu (dessin)..

3IE-1877-13          La mère Doudoux
Moffett suggests: 1876, La mère Boudoux à sa fenêtre, 61×48, DGG Memphis (R2,p21). This is one of the two pictures Moffett renders of Cals; this one in black and white. Now: 1876, La mère Boudoux à sa fenêtre (Honfleur), 61×49, DGG Memphis (iR10;iR98;R2,p21). Berson renders the same (R90II,p86). Note: the different writing of her last name. Compare 4IE-1879-45, La mère Doudoux (dessin). Note: there also is a smaller study of this painting: 1876, Alte Frau aus Honfleur (la mère Boudoux) in einer Stube am Fenster sitzend, 35×30, A2001/09/26 (iR13). A.P.  (1877/04/07) just mentions this work (R90I,p173). Jacques (1877/04/11) reviews ‘or with Mother Doudoux, the old fisherman’s wife, who, with her hands folded, and thoughtful under her cotton bonnet, a solitary dream on the return of her husband to his hut. ‘ (R90I,p156).

3IE-1877-14          Femme couchée, étude
Eng.: Woman lying down, study. Moffett doesn’t give a suggestion. Berson suggests: 1876, Nu couché, 34×60, xx (R90II,p86+70;R2,p204;R194,no32), she refers to Delestre no.32. La Republique français (1877/04/10)  just mentions the work (R90I,p176). Maillard (1877/04/04), probably referring to this work, reviews ‘a woman lying down, whom the charcoal maker in the corner wouldn’t stir with (fire)pliers, because she is so black.’ (R90I,p164). Leroy (1877/04/11) reviews ‘M. Cals with his ‘Etude de femme’ there is nothing strange that would allow the inclusion it’ (R90,p160). Bernadille (1877/04/13) reviews ‘My God, she needs to take a bath, and she shows us the wicked things.’ (R90I,p130). I render the black-and-white picture Berson renders, but the model doesn’t seem to look very black or dirty. Compare also a drawing from the posthumus Henri Rouart sale in 1912: Lying on her back, a naked woman, with her head resting on a pillow. On the left, stamp of the Gais sale, and dated 24 avril 1876, Black pencil drawing, enhanced with white; 23x34cm.

3IE-1877-15          Paysage, soleil levant
Eng.: landscape, rising sun. Moffett doesn’t give a suggestion. Guillemot (1877/04/19) just mentions that a ‘pretty landscape’ was ‘pleasantly composed’ (R90I,p154). As a very uncertain suggestion I render: 18xx, paysage, 24×33, A2013/06/29 (iR11). It is uncertain if this work depicts a rising or a setting sun, the title doesn’t indicate anything. A maybe better suggestion is: 18xx, Le Matin au village, 30×40, MNM Dijon (iRx;iR23;R2,p204;R90II,p70).

3IE-1877-16          Jeune femme, le matin
Moffett doesn’t give a suggestion, nor does Berson. Bernadille (1877/04/13) reviews ‘He also exhibits a Jeune femme, le matin; let’s hope it’s better in the evening.’ (R90I,p130). De Lora (1877/04/10) reviews ‘His Jeune Femme, would be an excellent study with little costs’ (R90I,p163). A.P.  (1877/04/07) just mentions this work (R90I,p173). Very uncertain I suggest ‘scène d’intérieur’ in the posthumous catalogue of the Henri Rouart collection of 1912, described as: ‘Une femme est assise dans un fauteuil vert près d’une cheminée et chausse sa pantoufle. Derrière elle, un lit découvert. Signé à gauche et daté 1857. Toile. — Haut. : 40 cm. ; larg. : 31 cm’ (R45,p68). Eng.: A woman sits in a green armchair near a fireplace and puts on her slipper. Behind her, an open bed. Probably now: 1857 (1875), Le lever (Scène d’intérieur), 41×33 (40×31), A2015/12/09 (iR11;R45,p68). Probably also exhibited as S1857-426 ‘Le lever’. But this work doesn’t look like a study. As another very uncertain suggestion I render: 18xx, Buste de jeune femme, bras pliés sur la poitrine, 34×28, A2010/03/18 (iR13;R2,p203;R90II,p70), which looks more like a study.

 

 

The fourth ‘impressionist’ exposition 1879:

  • catalogue numbers 32-45
  • in total  Cals exhibited 14 works, including 5 drawings
    • 4x indication of place
    • 3x indication of time, season or weather
    • 1x a study
    • 4x loans (appartient à…)
    • 9x figure paintings and 5x landscapes
  • See for the suggestions of Moffett (R2,p267/8) and of Berson (R90II,p107/8+126).

Catalogue 1879:

4IE-1879-32          L’heureuse mère
Eng.: The happy / proud mother. Moffett doesn’t give a suggestion. Berson with 2IE-1876-29, refers to a work in the Count Doria collection: 1875, La heureuse mère. Probably: 1878, A mother and child, 22×16, A2010/08/22 (iR13). The date in the right upper corner can be read as 1875 or 1878. There is a drawing similar to this painting that bares the title ‘L’heureuse mère’:  1880, L’heureuse mère, dr, 30×25, A1999/10/27 (iR13). I render this drawing to compare for: 4IE-1879-43. Note: this drawing is dated later. 

4IE-1879-33          Soleil couchant
Eng.: setting sun. Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. Compare 2IE-1876-25, which could be an option. As a very uncertain suggestion I render: 18xx, Fagoteuse au bord d’une rivière, 17×25, A2018/09/25 (iR11) and also: 1875, Soleil couchant sur la falaise; Honfleur, 16×33, xx (iR10;iR41;R2,p267). I also like to add: 1878, Honfleur au crépuscule, la mer à travers les arbres à la ferme Saint-Siméon (Paysan sous les arbres à Honfleur), 68×60, A2013/04/07 (iR13;iR10), from the Doria collection.

4IE-1879-34          Étude, Tête de femme
Eng.: study, head of a woman. Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. As an uncertain suggestion I render: 1877, Femme de profil, 38×32, xx (iR10;iR17). This seems to be a study for the work I render for 2IE-1876-29.

4IE-1879-35          Bassin à Honfleur
Eng.: basin at Honfleur. Moffett doesn’t give a suggestion, nor does Berson who refers to the review of Sébillot (1879/05/15), who just mentions this work and adds ‘It is probably because of them (including Piette and Rouart) that the exhibition is called exhibition of independent artists.’ (R90I,p239). As an uncertain suggestion I render: 18xx, Vue d’une fleuve bordé d’une manufacture, 19×25, A2010/02/19 (iR11). Note: Opposite Honfleur at the other side of the mouth of the Seine lies Le Havre with it’s factories and bassins. Maybe that’s what this picture does depict. Note 2: Honfleur also has his own little bassins (without factories). Compare also 4IE-1879-37. 

4IE-1879-36          Ferme du Butin, Honfleur, Matinée de juin
Eng.: Butin farm, Honfleur, morning in June. Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. Maybe now: 1879, La ferme du Butin à Honfleur, 18×34, A2018/12/12 (iR11). Le Butin is now a little road close to Ferme Saint-Siméon, see map (iR10). 

4IE-1879-37          Effet de neige, Honfleur
Eng.: Effect of snow, Honfleur. Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. As an uncertain suggestion I render: 1855, Bord de rivière en hiver, xx, xx (iR6;iR13). Note: the picture has resemblances with the picture I render for 4IE-1879-35. 

4IE-1879-38          La Grand’mère ; appartient à M. R…
Eng.: The grandmother. Moffett doesn’t give a suggestion. Berson leaves the work unidentified, but suggests: 18xx, Femme âgée, 22×18, xx (R90II,p108;aR2,p212), part of the Henri Rouart collection. But there is not a work in the posthumous catalogue of the Henri Rouart collection in 1912 that comes close to this title. Maybe Berson means this work, which I will render: 18xx, Portrait d’une femme âgée, 21×17, A1995/03/19 (iR12;iR10). 

4IE-1879-39          Jeune femme avec son petit enfant ; appartient à M. R…
Eng.: Young woman and her little child. Moffett doesn’t give a suggestion. Maybe this is the same as ‘Paysanne et enfant’ in the posthumous catalogue of the Henri Rouart collection, described as: Dans un intérieur rustique, une vieille femme devant une fenêtre tient un enfant sur ses genoux. Signe à gauche et daté 1871. Toile. — Haut. : 35 cm. ; larg. : 27 cm (R45,p68). Eng.: In a rustic interior, an old woman in front of a window holds a child in her lap / on her knees. Maybe: 18xx, xx (Mère et enfant), xx, xx (iR24;iR10), though the woman doesn’t look old. Or (also suggested by Berson) as: ‘La Mère et l’enfant’, described as: Une femme est assise sur une chaise et tient son enfant dans ses bras. Signé à gauche, dans le haut, et daté, Honfleur 1877. Toile. — Haut. : 35 cm. ; larg. ; 27 cm (R45,p69). Eng.: A woman sits in a chair and holds her child in her arms. To compare I render: 18xx, Nourrice tenant un enfant sur ses genoux, 65×54, A2017/03/22 (iR11).

4IE-1879-40          Portrait de M. M…
Moffett doesn’t give a suggestion. Berson omits this work, which means there were no reviews. As an uncertain suggestion I render an assumed portrait of Charles Meryon: 1858, Un portrait d homme en redingote assis sur une chaise (~Charles Meryon), 35×28, xx (iR10).  

4IE-1879-41          Portrait de Mme A. R… (dessin)
Moffett doesn’t give a suggestion, nor does Berson, who refers to the review of Besson (1879/04/11): ‘drawings by M. Cals and large unnamed cardboard panels that decorate the back of one of the rooms.’ (R90I,p213). As a very uncertain suggestion I render: 1870/07/16, portrait of a woman, pastel, 40×29, A2013/06/08 (iR11). I assume that with the signature left in the middle the date 16 juillet 1870 is rendered. 

4IE-1879-42          Le dimanche à Saint-Siméon, Honfleur (dessin) ; appartient à Mme R…
Eng.: Sunday at Saint-Siméon, Honfleur (drawing). Moffett doesn’t give a suggestion, nor does Berson, who refers to the review of Besson (1879/04/11): ‘drawings by M. Cals and large unnamed cardboard panels that decorate the back of one of the rooms.’ (R90I,p213). Compare the oil painting mentioned in the posthumous catalogue of the Henri Rouart collection of 1912 with the same title and described as: Dans un verger normand, sur l’herbe verte, des pêcheurs et des pêcheuses sont assis ou attablés. Au premier plan, une jeune fille avec deux enfants, l’un dans ses bras, l’autre se retenant à sa robe. Signé à gauche et daté, Honfleur 1876. Toile. — Haut. : 54 cm. ; larg. : 82 cm. Eng. : In a Norman orchard, on the green grass, fishermen are sitting or sitting at tables. In the foreground, a young girl with two children, one in her arms, the other holding on to her dress. (R45,p68;R51,p91). I render this work as 6IE-1881-hc2. Compare also: 2IE-1876-30, A la ferme de Saint-Siméon, probably now: 1876, A sunday in Saint-Siméon, 60×120, A1998 (iR6;iR13;iR14;iR35).

4IE-1879-43          La mère et les enfants (dessin) ; appartient à Mme H…
Moffett doesn’t give a suggestion, nor does Berson, who refers to the review of Besson (1879/04/11): ‘drawings by M. Cals and large unnamed cardboard panels that decorate the back of one of the rooms.’ (R90I,p213). To compare I render: 1880 (?HW), L’heureuse mère, dr, 30×25, A1999/10/27 (iR13), a mother with one child. This drawing corresponds 4IE-1879-32 a work made in 1878, so probably the date of 1880 is not correct. 

4IE-1879-44          Le coin du feu (dessin)
Moffett doesn’t give a suggestion, nor does Berson, who refers to the review of Besson (1879/04/11): ‘drawings by M. Cals and large unnamed cardboard panels that decorate the back of one of the rooms.’ (R90I,p213). Compare 3IE-1877-12, Le coin du feu. Maybe?: 18xx, unknown title (woman sitting by the fire), xx, xx (iR101;iR10;R2,p267;R90II,p108).

4IE-1879-45          La mère Doudoux (dessin)
Moffett suggests Delestre no.62, Berson adds: 1878, La Mère Boudoux à sa fenêtre, 21×18, xx (R90II,p126+108;R2,p267;R194,no62), which I will render. Compare: 3IE-1877-13, La mère Doudoux.

 

 

The 6th ‘impressionist’ exposition 1881:
Following a later review of Joris-Karl Huysmans in L’art moderne in 1883, Moffett suggests that works of Cals were exhibited posthumously and outside the catalogue (=hors catalogue = hc) (R2,p351+356). Berson renders this review: ‘I now pass over in silence two small rooms where, in a few comical rows, the crusts of Cals, Rouart, Vidal and other more official painters are displayed, whose oils would be well worthy of being purified by Mr. Toulmouche.’ (R90I,p354). Berson also refers to a review of Elie de Mont. (R90II,p179). He reviews (1881/04/21) ‘Of what interest, I ask, are the paintings of Mr. Cols (sic), who died in 1880?’ (R90I,p361). I understand these are the only sources. There is no notice about how many and what works were exhibited. I assume it were at least 4 works.
16 and 17 February there had already been a posthumous auction sale of works of Cals (iR65). So how much was left of his own collection? Among the works exhibited in 1881 maybe were loans made by count Doria and Henri Rouart, who had several works of Cals in their collections.
As very uncertain options I render a work from the Rouart collection as hc1: 1876, Un dimanche à Saint-Siméon, 55×84, MB Honfleur (R51,p91;R45,p68); see also 4IE-1879-42. A work from the Doria collection as hc2: 1874, Le repos du paysan, Honfleur, 27×34, Axx (iR10). And a work made in the year of his death as hc3: 1880, Küste bei Honfleur (seaside at Honfleur), 14×24, A2014/05/23 (iR13;iR93;iR10). And also: 1877, Ruelle à Honfleur (Honfleur Alley), 43×59, A2013/06/12 (iR2;iR13;iR35;R2,p356;R90I,p354).

 

Adolphe-Félix Cals at the Salon:
Here below you will find an account of the works Cals exhibited at the Salon from 1835 – 1870. My main source is the Salon database of Musée D’Orsay (iR1). Only 1864 onwards it is indicated that Cals also exhibited drawings. In the 1860s and 1870s it was normal to exhibit at the Salon not more than 2 oil paintings. Extra works were pastels, drawings, etc. Before 1864 Cals often exhibited more than 2 works, but it is not indicated if these were al oil paintings. I assume they were, but will often render drawings to compare.
Further on below I will render the many adresses where Cals lived, according to the information rendered in the Salon catalogues.

  • in total  Cals exhibited  83 works, of which about 69 works were figure painting
    • 7x indication of place
    • 4x (indication of time, season or weather) effect of lamplight
    • 11x a study
    • 2x loans (appartient à…)

S1835-303 *Une pauvre femme
Eng.: a poor woman. Note: same title as S1836-283 and S1843-167.

S1835-304 Portraits d’homme
Eng.: portraits of men. To compare I render drawings: 18xx, Three Studies of an Old Man, dr, 36×26, NG Scotland (iR10).

S1835-305 Idem [Portrait] de femme
Eng.: portrait of a woman. To compare I render a drawing: 1835, Paysanne, dr, 22×19, A1999/10/27 (iR13).

S1836- 283 *Une pauvre femme
Eng.: A poor woman. Note: the same title as S1835-303 and S1843-167.

S1836- 284 Jeune femme ; étude
Eng.: Young woman; study. As a very uncertain suggestion I render: 18xx, xx (portrait de femme), xx, xx (iR93;iR10).

S1837-263 *Le retour des champs
Eng.: Return from the fields. To compare I render a drawing with a similar theme: 18xx, Paysanne sur le chemin, dr, 8×11, Axx (iR10). Note: the comparison of this picture with the one I render for S1867-256.

S1837-264 *La prière ; tête d’étude
Eng.: prayer; study of a head. Note: same title as S1842-289.

S1838- 231 *Un mendiant
Eng.: a beggar / vagabond. Compare: S1841-274. To compare I render a drawing that is titled ‘paysan’, but that looks more as a beggar: 18xx, Paysan, dr, 21×21, A2018/12/19 (iR12;iR10) .

S1838- 232 *Un paysagiste ; deux paysannes le regardent peindre
Eng.: a landscapist; two peasant women watch him paint. 

S1838- 233 Portrait de M. le comte de L. B…
Eng.: Portrait of mister the count of L. B… Probably: 1838, Portrait de Comte de Lancosme de Brève, 54×65, A2007/11/23 (iR13;iR10). 

S1839- 279 *Paysan du Berri, tête d’étude
Eng.: Peasant from Berri; study of a head. Maybe: 18xx, Portrait de paysan berrichon, xx, xx (iR10). For Berri in the Auvergne see map (iR10). 

S1839- 280 *Paysanne du Berri, idem [tête d’étude]
Eng.: Peasant woman from Berri; study of a head. As a very uncertain option I render: 18xx, Portrait de femme au foulard, 41×33, xx (iR10).

S1840- 214 *Paysan de l’Auvergne ; tête d’étude
Eng.: peasant from the Auvergne; study of a head. As a very uncertain option I render: 18xx, Detail of Head of an old man (portrait d’un vieillard), xx, xx (iR10). Compare also: S1846-298 + S1847-266.

S1840- 215 *Tête d’enfant, idem [tête d’étude]
Eng.: head of a child; study of a head. As a very uncertain option I render: 18xx, Portrait d’un jeune garçon, 46×38, A2014/06/08 (iR13;iR10).

S1840- 216 Les deux petites soeurs ; idem [tête d’étude]
Eng.: two little sisters; study of a head.

S1841- 273 *Tête de saint ; étude
Eng.: head of a saint; study. 

S1841- 274 *Le vieux vagabond
Eng.: the old vagabond. Compare: S1838-231. 

S1842- 288 Le bon ménage
Eng.: the good household. 

S1842- 289 La prière ; tête d’étude
Eng.: the prayer; study of a head. Note: same title as S1837-264. 

S1842- 290 La liseuse ; idem [tête d’étude]
Eng.: the female reader; study of a head. To compare I render a drawing: 18xx, Portrait de femme (lisant), dr, 21×18, xx (iR10). 

S1843-166 *La contemplation
Eng.: The contemplation. To compare I render a drawing: 1872 (or1832), rêverie, dr, 14×14, MNM Dijon (iR10;iR23). 

S1843-167 *Une pauvre femme
Eng.: a poor woman. Note: same title as S1835-303 and S1836-283.

S1843-168 Portrait de M. B…
Eng.: Portrait of mister B… Note: the same title as S1847-267. 

S1843-169 Portrait d’homme
Eng.: Portrait of a man. To compare I render a drawing: 18x, Portrait of a Man, bust-length, with folded Arms, dr, xx, Ashmolean Museum (iR10;iR64). 

S1844- 257 *Tête de jeune fille
Eng.: head of a young girl. As an uncertain option I render: 18xx, Portrait d’une jeune fille, 14×14, A1999/06/05 (iR13;iR10). 

S1844- 258 *Tête de jeune fille ; effet de lampe
Eng.: head of a young girl; effect of a lamp. Compare: S1845-250 + S1853-204. As a very uncertain option I render: 1843, Portrait de jeune fille, 39×31, A1999/10/27 (iR13). 

S1845- 247 *La Madeleine en méditation
Eng.: Madeleine in meditation. Compare: S1846-297. 

S1845- 248 *Jeune fille lisant
Eng.: young girl reading. Almost the same title as: S1848-722. 

S1845- 249 *Tête de femme
Eng.: head of a woman. As a very uncertain suggestion I render: 18xx, femme de profil a la coiffe, d17, A2010/10/25 (iR11) . 

S1845- 250 *Souterrain, effet de lampe
Eng.: subterranean, effect of a lamp. Compare: S1844-258 + S1853-204. As an uncertain option I render: 18xx, Vieil homme à la chandelle, 18×18, A2012/05/27 (iR13). 

S1845- 251 Portrait de Mme C…
Eng.: Portrait of madame C… To compare I render a drawing presumably of his wife: 18xx, Portrait présumé de Mme Cals , dr, 35×28, A20090329 (iR13;iR10). See also S1864-2071 and S1868-251. 

S1846- 290 *Une pauvre famille en prière
Eng.: a poor family in prayer. 

S1846- 291 *Bonne femme filant
Eng.: Good woman spinning. As an uncertain option I render: 18xx, La fileuse et son enfant, 37×26, A20151122 (iR13). Maybe also exhibited as 1IE-1874-41.

S1846- 292 *L’enfant endormi
Eng.: the sleeping child. Compare a work that is dated later: 1875, L’enfant endormi, Honfleur, 46×54, A2004/03/31 (iR13). I don’t render the vague picture I have.

S1846- 293 *Sollicitude maternelle
Eng.: maternel solicitation. The meaning is unclear to me. To compare I render a later work where a child requests the attention of her mother: 1860, Mère et enfant dans un intérieur, 38×46, xx (iR10). 

S1846- 294 *Le billet
Eng.: the ticket / note. 

S1846- 295 *Jeune fille travaillant
Eng.: young girl working. Note: the same title as S1848-724. 

S1846- 296 *Petite fille épluchant des légumes
Eng.: little girl peeling of the vegetables. Compare: 1854, A Cook Plucking a Wild Duck, 46×38, BM Barnard Castle , (iR2;iR10). 

S1846- 297 *Méditation
Eng.: meditation. Compare: S1845-247.

S1846- 298 *Bonne femme d’Auvergne
Eng.: Good woman from the Auvergne. Compare: S1840-214. Note: the same title as S1847-266. As an uncertain option I render: 1846, Peasant Woman and Child, 46×38, BM Barnard Castle (iR2;iR35). More info on this work see link. His 1839 + 40 paintings were also made in the Auvergne. 

S1846- 299 *Etude d’homme
Eng.: study of a man. To compare I render a drawing: 18xx, xx (man of high standing; detail), dr, xx, xx (iR101;iR10). 

S1846- 300 Portrait de M. Yv…
Eng.: portrait of mister Yv… Maybe: 1846, Portrait d’homme, 93×73, A2010/12/14 (iR13;iR11). 

S1847- 264 *Saint François-d’Assise.
Eng.: Saint Francis of Assisi. Maybe: 18xx, Saint-François d’Assise, 185×140, A2010/12/19 (iR13). 

S1847- 265 *Tête de jeune femme
Eng.: head of a young woman. 

S1847- 266 *Bonne femme d’Auvergne
Eng.: Good woman from the Auvergne. Compare: S1840-214. Note: the same title as S1846-298.

S1847- 267 Portrait de M. B…
Eng.: portrait of mister B… Note: the same title as S1843-168. 

S1848- 720 Nature morte
Eng.: still life. Maybe: 1847, Still life with a cucumber, pitcher, platter, glassware, xx, Minneapolis IA (iR6). Cals exhibited 4 still lives: S1848-720 + 721, S1848-723 and S1850-443.

S1848- 721 Idem [Nature morte]
Eng.: still life. As an uncertain option I render: 18xx, Nature morte aux agrumes, 24×28, A20101024 (iR13). Cals exhibited 4 still lives: S1848-720 + 721, S1848-723 and S1850-443.

S1848- 722 Petite fille lisant
Eng.: little girl reading. Compare: S1845-248. Maybe: 18xx, petite file lisant à la chandelle, 30×29, A2017/06/15 (iR11) . 

S1848- 723 Fleurs et fruits
Eng.: flowers and fruits.  Cals exhibited 4 still lives: S1848-720 + 721, S1848-723 and S1850-443.

S1848- 724 Jeune fille travaillant
Eng.: young girl working. Note: the same title as S1846-295.

S1848- 725 Vieillard lisant
Eng.: Old man / person reading. As an uncertain option I render: 18xx, La Lecture à la chandelle, 21×21, MBA Dijon (iR23). Compare also the picture I render for S1845-250.

S1848- 726 Petit vagabond
Eng.: little beggar. 

S1850- 440 Portrait de Mme D. R… et de son enfant
Eng.: portrait of madame D. R… and of her child. As a very uncertain option I render: 18xx, Mère avec son enfant et un chat, 19×19, A2016/05/25 (iR13;iR11). 

S1850- 441 Idem (portrait) de Mme B
Eng.: portrait of madame B. Compare: S1843-168 + S1847-267. As an uncertain option I render: 1850, Bildnis der Claudine Bonnet, 27×33, A2015/05/29 (iR13;iR12). 

S1850- 442 Idem (portrait) de M. …
Eng.: portrait of mister… 

S1850- 443 Nature morte
Eng.: still life. compare: S1848-720+721. As an uncertain option I render: 18xx, Nature morte (un intérieur), 19×13, A2014/03/26 (iR11;iR13).  Cals exhibited 4 still lives: S1848-720 + 721, S1848-723 and S1850-443.

S1853- 203 Un amateur
Eng.: an amateur / hobbyist. To compare I render a later work: 1859, Le raccommodeur de porte-monnaie (Père et fillette dans un atelier), 28×23, A2000/80/423 (iR13). 

S1853- 204 *Tête de jeune femme ; étude à la lampe
Eng.: study of a young woman; study at a lamp. Compare: S1844-258 + S1845-250. To compare I render a drawing: 18xx, Femme assise à un bureau, lisant à la lueur d’une chandelle, dr, 17×22, A1999/10/27 (iR13). 

S1855- 2660 Paysanne endormie
Eng.: peasant woman sleeping. 

S1857-426 Le lever
Eng.: the rising. Probably: 1857, Le lever (scène d’intérieur), 41×32, A20151209 (iR13;iR11; R45,p68) . Probably the same as 3IE-1877-16.

S1857-427 Jeune mère
Eng.: young mother. 

S1859- 474 *L’éducation maternelle
Eng.: maternal education. Maybe now: 1855, Les conseils maternels, 46×56, A1995/o5/24 (iR13). Maybe also exhibited as 2IE-1876-32.

S1859- 475 Intérieur rustique
Eng.: rustic interior. Compare: 18xx, Intérieur rustique à Honfleur (L’intérieur, rue Varin à Honfleur), 28×38, A2009/06/12 (iR13;iR10). Probably this work is made later, because it is made in Honfleur and resembles works made in the 1870s. 

S1859- 476 Le goûter
Eng.: the taste / the (tea-time) snack. As an uncertain option I render: 1859, La d’onette, 45×55, A1995/02/16 (iR13). Note: the meaning of onette is obscure, maybe donut. 

S1861- 503 Jeune fileuse
Eng.: young spinster. 

SdR1863-61 Le ménage du sabotier
Eng.: The hoof cleaner’s household. Maybe now: 18xx, La famille du sabotier, 60×74, A2017/03/23 (iR11) small.

S1864-303 La lecture (Voir aux Dessins, etc.)
Eng.: the reading. Compare S1848-722: 18xx, petite file lisant à la chandelle, 30×29, A2017/06/15 (iR11).

S1864-2070 La partie de dominos ; dessin
Eng.: The domino game. Probably now: 1864, Two Friends Around a Table, dr, 33×43, MFA Houston (iR6; iR8;iR35).

S1864-2071 Portrait de Mlle C… ; dessin
Compare: S1868-405 and S1845-251. To compare I render an earlier work: 1848, portrait de femme de profil, dr, xx, Axx, (iR44;iR10).

S1865-353 La veillée (Appartient à M. le vicomte Doria)
Eng.: the wake. Maybe: 1861, La Veillée (the wake), 40×33, A2000/06/21, (iR2;iR13). Note: this work is also dated as 1868.

S1865-354 Les deux sœurs (Appartient à M. le vicomte Doria) (Voir aux Dessins, etc.)
Eng.: Two sisters. Compare an earlier work: 1856, Best of friends, 46×38, A1999/02/09 (iR13).

S1865-2345 Portrait de M. P… ; dessin
As an uncertain option I render: 1862 (or:1842), Portrait d’homme, dr, 33×26, A2004/03/22 (iR13).

S1865-2346 Portrait de Mme la comtesse D… ; dessin (Voir à la Peinture)
Probably a portrait of Countess Doria. Maybe: 1859, Portrait of Countess Doria, dr, 39×28, A2013/12/29 (iR17).

S1866-305 *Les images
Eng.: the pictures.

S1866-306 Le soir ; effet de lampe (Voir aux Dessins, etc)
Eng.: Evening, effect of a lamp. Compare: 18-44-258 + S18454-250 + S1853-204. According to Joconde now: 1866, Self-portrait, 82×66, MNVT Versailles (iR99;iR23;iR10;iR96).

S1866-2108 Portrait de Mlle A.-S. l’E.. ; dessin
As an uncertain option I render: 1865, portrait of a woman, dr, xx, xx (iR10) .

S1866-2109 Portrait de M. le docteur Castle ; dessin (Voir à la Peinture)
As a very uncertain suggestion I render: 18xx, Portrait d’homme, en buste, de face, la tête légèrement tournée à droite, dr, 33×25, Louvre (iR23). 

S1867- 256 Une rue à Béthancourt (Oise)
Eng.: a road in Béthancourt (Oise). Béthancourt lies just east of Orrouy, residence of count Doria (iR9). As a very uncertain suggestion I render: 1861 (?), The way home, 21×27, A2012/03/20 (iR11). Note: the comparison of this picture with the one I render for S1837-263. I also like to suggest: 1866, The Well in the rue Montlaville, Orrouy (viewed from the east), 14×19, FM Cambridge (iR2;iR35;iR1;iR9).

S1868-405 Portrait de Mlle C…
As an uncertain option I render: 1867 ~, Tête de jeune femme, 17×14, Axx (iR11;iR10). Compare also S1864-2071 and S1845-251.

S1868-406 *Grand’mère et petit-fils
Eng.: Grandmother and grandson.

S1869-383 Portrait de M. le comte de B…
Eng.: Portrait of M. the count de B… Maybe the same work as S1838-233: 1838, Portrait de Comte de Lancosme de Brève, 54×65, A2007/11/23 (iR13;iR10).

S1870-453 Portrait de Mme A. de L…
Eng.: portrait of madame A. de L…. To compare I render an earlier portrait: 1844, Porträt einer Dame mit Spitzenhaube, kariertem Halstuch, Gemmen-Brosche und Stola, 80×65, A1999/06/23 (iR13).

S1870-454 Ferme en Normandie
Eng.: a farm in Normandie. Maybe now: 1865, Farm in Normandy, 60×50, A2018/03/21 (iR2;iR11).

 

Where did Cals live?
My main sources are the Salon database (iR1) and Moffett (R2).

  • 1835 + 36: 25, rue Montorgueil, Paris.
  • 1837 + 38: 9, rue Childebert, Paris.
  • 1839: 8, rue Saint-Hyacinthe-Saint-Michel, Paris
  • 1840: 72, rue des Fossés-du-Temple, Paris.
  • 1841: 7, rue de Lancry, Paris.
  • 1842 + 43: 14, rue de Chabrol, Paris.
  • 1844: 27, rue de l’Eglise, Gros-Caillou.
  • 1845: 26, rue du Rocher, Paris.
  • 1846 – 50: 23 bis, rue de la Bienfaisance, Paris.
  • 1853: rue Saint-Jean, 6 bis , Paris (Montmartre).
  • 1855: rue Fontaine-Saint-Georges, 38 bis, Paris.
  •  1857: boulevard de Pontoise, 13 , Argenteuil. 
  • 1859 + 1861: correspondence address of Père Martin.
  • 1864 + 65: rue de la Victoire, 46 , Paris.
  • 1866: rue Paradis-Poissonnière, 6 , Paris.
  • 1867 – 69: rue du Faubourg-Saint-Denis, 103 , Paris.
  • 1870 + 74: correspondence address of Père Martin.
  • 1876 + 77: Rue Rochechouart, 70, Paris.
  • 1879: correspondence address of Père Martin.

 

Recommanded citation: “Adolphe-Félix Cals, an account of his exhibited works”. Last modified 2021/09/18.  https://www.impressionism.nl/cals-account/.