Impressionism, a historical reconstruction:

Paul Cézanne

(1839-1906)

Account

of his exhibited works

Introduction:
On this page you will find an extended account of the works that Cézanne exhibited at the 1st and 3rd ‘impressionist’ exhibition in 1874 and 1877. You will also find a less extended account of the works he exhibited at other exhibitions. For general info on Paul Cézanne and the used sources see the main page. See link for an accounted impression of the works he exhibited in 1874 and 1877.

The first ‘impressionist’ exposition 1874:

catalogue numbers 42-44
so Cézanne exhibited 3 works
- 2x indication of place
- 0x indication of time, season or weather
- 2x a study
- 1x loans (appartient à…); of Dr. Gachet.
See for the suggestions of Moffett (1986=R2,p120), of Dayez / Adhémar (1974=R87,p234/5), Berson (1996=R90II,p21+) and Patry/Robbins (2024=R410,no80+134+170). Moffett refers to the Catalogue Raisonné of Venturi (1936). I also refer to the numbers in the catalogue edited by Dony / Braun (1976=R48). I also refer to the suggestions of Feilchenfeldt, Walter, Jayne Warman, and David Nash. “Exhibition: 1874 Paris.” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. https://www.cezannecatalogue.com/exhibitions/entry.php?id=26 (accessed on February 23, 2021), shortly referred to as FWN+catalogue number (=iR194).
see link for the pictures.

Reviews:
Emile Cardon (1874/04/29) reviewed ‘So, rests us Mrs. Degas, Cézanne, Monnet (sic), Sisley, Pissaro (sic), Mlle Berthe Morisot, etc., etc., the disciples of M. Manet, the pioneers of the painting of the future, the most convinced and authorized representatives of the School of the impression.’ and later ‘Examening the exhibited works – (I recomment namely at the visitors the following numbers .., 42, .., 43, … )’ and almost at the end ‘M. Fauré, who has sold his beautiful Dupré, his splendid Delacroix, his marvelous Corot, his Roybes, for buying those of Degas, Cézanne and Manet.’ (R90I,p13+14)
Etienne Carjat (1874/04/27) reviewed ‘Mrs Monet, Pissarro, Cézanne, Sisley and Guillaumin forme a group apart in this exposition, of which they have been the principal initiators. What they seem to be looking for above all else, is the impression, a word that is invented purposely for the sake of their cause.’ and later ‘At first we have applauded the beginnings of (Monet, Pissarro) …, M. Cézanne, he too, with his deep sense of color, made us hope for one more painter.’ (R90I,p14+15)
Castagnary (1874/04/29) ended his extended review with ‘As for the others, who, neglecting to think and learn, will have pursued the impression to excess, for example M. Cézanne (Une moderne Olympia) can show them right now the fate that awaits them. From idealisation to idealisation, they will end up with this degree of unbridled romanticism, where nature is juste an excuse for dreaming, and where the imagination becomes strong in formuling anything else but personel phantasies, in general reason, because they are without controll and not verified in reality.’ (R90I,p17)
E. Lepelletier (1874/04/19) reviewed ‘Among the landscapes we mention: … la Maison du pendu, of M. Paul Cézanne; …’ (R90I,p24)
Louis Leroy (1874/04/25) in his review presented a dramatic dialogue with a M. Vincent: ‘Suddenly he gave a loud cry upon catching sight of the Maison du pendu of M. Paul Cézanne. The stupendous impasto of this little jewel accomplished the work by by the Boulevard des Capucines: père Vincent became delirious.’ Later this M. Vincent took over the viewpoint of the impressionists. The reviews continues ‘Too finished, too finished! Take to me the Modern Olympia! That’s something well done. Alas, go and look at it! A woman folded in two, from whom a Negro girl is removing the last veil in order to offer her in all her ugliness to the charmed gaze of a brown puppet. Do you remerber the Olympia of M. Manet? Well , that was a masterpiece of drawing, accuracy, finish, compared with the one by M. Cézanne.’ The review ends with ‘Hugh! … I am the impression on the march, the avenging palette knife, the Boulevard des Capucines of Monet, the Maison du pendu and the Modern Olympia of Cézanne. Hugh! hugh! hugh!’ (R90I,p25+26;R1,p322+324)
Léon de Lora (1874/04/18) reviewed ‘Among the very excellent landscapes we mention: …; la Maison du pendu, of M. Paul Ce’zanne; …’ (R90I,p27)
Marc de Montifaud (1874/05/01) reviewed ‘No audacity will raise our eyebrows. But where landscape is concerned, Cézanne will be glad we did not get as far as his Maison du pendu and his Etude à Auvers; there, we admit, we were left behind.’ (R2,p126;R90I,p30)
Henri Polday (1874/05/03) ends his review with ‘I’d like to know if these gentlemen are making fun of M. Cézanne or if M. Cézanne is making fun of them. The fact remains that after looking at the paintings of this irreconcilable man, one would take Mrs. Pissarro and Claude Monet for reactionaries.’ (R90I,p33)
Jean Prouvaire (1874/04/20) gave explicit attention to 8 partakers, including Cézanne, reviewing ‘Shall we mention M. Cézanne who, by the way, has his own legend? No known jury has ever, even in its dreams, imagined the possibility of accepting a single work of this painter, who came to the Salon carrying his paintings on his back, like Jesus Christ carrying his cross. An over-exclusive love of yellow has compromised Cézanne his future up to now. Nevertheless, because the jury is the jury, it has been wrong.’ (R2,p126;R90I,p35)
Emile Zola (1874/04/18) reviewed extensively in his short review on Cézanne ‘Between the works that struc me, I namely mention a very remarquable landscape by M. Paul Cézanne, one of your compatriots, from Aix, who has shown great originality. M. Paul Cézanne, who struggled a long time, has the true temperament of a great painter.’ (R90I,p38)
See the seperate pages on the reviews and on the art-critics.

Catalogue 1874:

1IE-1874-42, La Maison du pendu, à Auvers-sur-Oise
It was bought by Comte Doria for 200 fr (R87,p224); this was also the asking price noted in the first edition of the catalogue (R411). In the profit and loss account there is no commission noted for Cézanne to be payed (R415,p366).
Moffett, Dayez, Berson and Patry/Robbins suggest 1873, CR133, La maison du pendu à Auvers-sur-Oise, musée d’Orsay. Now: 1872-3, CR133, Auvers-sur-Oise, house of the hanged man, 55×66, Orsay (iR2;iR59;R48,no136;R163,p46;R410,no170;R90II,p21) = FWN42 (iR194). It is also called the suicide’s house. Mario de Micheli writes that this work is considered Cézanne’s first impressionist masterpiece (R164,no13), but when we look close at this work, we see that the colours are a bit subdued and brownish and he doesn’t use juxtaposed brushstrokes (see).

1IE-1874-43, Une moderne Olympia, esquisse ; appartient à M. le Dr Gachet
Moffett, Dayez, Berson and Patry/Robbins suggest 1873ca, CR225, Une moderne Olympia, musée d’Orsay. Now: 1873, CR225, a modern Olympia, 46×55, Orsay (iRx;R48,no250;R410,no80;R90II,p21) = FWN43 (iR194). Castagnary comments: ‘an excessive impression’, ‘a romantism without restraint’, ‘a subjective fantasy’. De Montifaud describes Cézanne as a ‘crazy, agitated fool painting from a delirium tremens’ suggesting that he used opium and haschisch. (R87,p235).

1IE-1874-44, Étude, paysage à Auvers
The first edition of the catalogue rendered as asking price 100fr (R411).
Moffett suggests with a perhaps 1873ca, CR157, Quartier Four, à Auvers, 46×55, Philadelphia Museum of Art (R2,p126). Adhémar and Berson affirm. Rewald suggests 1873, CR138, House of Père Lacroix, NGA Washington (R2,p126;R48,no142). A suggestion that is also mentioned by Moffett, Berson and Patry/Robbins (R2,p126;R90II,p22;R410,no134) and affirmed by the online catalogue =FWN77 (iR189). I render both options.

The third ‘impressionist’ exposition 1877:

catalogue numbers 17 – 32
1 work was exhibited outside the catalogue (=hors catalogue = hc)
so in total Cézanne exhibited 17 works, probably exhibited in room 3.
- 0x indication of place
- 0x indication of time, season or weather
- 9x a study
- 0x loans (appartient à…)
See for the suggestions of Moffett (R2,p203/4) and Berson (R90II,p70-72+86-89). They refer to the Catalogue Raisonné of Venturi (1936), Rewald (1969) and Brettell / Belloli (R17). I also refer to the suggestions of Feilchenfeldt, Walter, Jayne Warman, and David Nash. “Exhibition: 1877 Paris.” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. https://www.cezannecatalogue.com/exhibitions/entry.php?id=32 (accessed on February 23, 2021), shortly referred to as FWN (=iR194). I also refer to the numbers in the catalogue edited by Dony / Braun (1976=R48).
see link for the pictures.

Catalogue 1877:

3IE-1877-17, Nature morte
3IE-1877-18, Nature morte
3IE-1877-19, Nature morte
Moffett gives several suggestions for no. 17-19: CR196; 1877 or 79 and: CR197, the dessert, 59×73, Philadelphia MA (R2,p194) and: CR207, referring to Rewald. Berson suggests for no.17 CR196, for no.18 CR197, for no.19 CR207, all referring to Rewald, 1969,p50 (R90II,p70). The online catalogue raisonné makes the same suggestions for the numbers 17-19 =FWN 744+745+742 (iR189). Berson refers to the reviews of Bernadille and Fillonneau (R90II,p70). Bernadille (1877/04/13) reviews ‘Les Natures mortes de M. Paul Cézanne are not dead enough yet: I have seen horrified spectators who would have gladly killed them.’ (R90I,p130). Fillonneau (1877/04/20) just mentions them (R90I,p146). So these reviews don’t bring us any further.
No.17: =1877-79 (1873-77), V196=FWN744, Pommes et gâteaux, 46×55, xx (R189,no196;R48,no195;iR194,no744); =2SdA-1904-SPC-20, Nature morte (loan by Durand-Ruel).
As an extra option I also like to render: 1877ca, CR214, Still Life, Flask, Glass, and Jug, 46×55, Guggenheim NY (iR2;R48,no212;R2,p204).
Note: Cézanne has made many still-lifes before 1877, so there are also other options (R48,p96-99).

3IE-1877-20, Étude de fleurs
3IE-1877-21, Étude de fleurs
Moffett gives several suggestions for no. 20+21: CR179; CR180; CR181; CR182, Pushkin; CR222, NGA Washington, referring to Rewald; referring to Brettell CR181, CR182. Berson suggests: CR182 and CR181. The online catalogue suggests CR182 and FWN722 (iR194). These exhibited works are only mentioned in the review of Fillonneau (1877/04/20), who just mentions them (R90I,p146;R90II,p70).
I render 3 suggestions: 1873-77, CR182+FWN732, Flowers in a Blue Vase, 55×46, Hermitage (iR10;iR114;iR2;iR59;iR194,no732;R90II,p187;R2,p203;R48,no215); and: 1874 (or1873-77), CR181, Vase of flowers (on a flower rug), 61×50, private (iR10;iR247;R189,no181;R48,no217;R90II,p87;R2,p203); and: 1876ca, FWN722, Flowers in a Rococo vase, 73×58, NGA Washington (iR10;iR166;iR194,no722;R48,no223). Note: Cézanne has made several flower still-lifes before 1877, so there are also other options (R48,p98).

3IE-1877-22, Paysage, étude d’après nature
3IE-1877-23, Paysage, étude d’après nature
3IE-1877-24, Paysage, étude d’après nature
3IE-1877-25, Paysage, étude d’après nature

Only Fillonneau and De Lora review these works (R90II,p70). Fillonneau (1877/04/20), just mentions them (R90I,p146;R90II,p70). Léon de Lora / de Fourcaud (1877/04/10) reviews ‘You can’t imagine the Impressions d’après nature of M. Césanne (sic); I mistook them for unscraped pallets.’ (R90I,p163;R2,p214). These reviews don’t help us much further in knowing which works Cézanne did exhibit.
Moffett gives several suggestions for no. 22-25: CR464 (referring to Rewald, 1969); and referring to Brettell CR 158, CR168, CR171, CR173. Berson suggests arbitrarily for no.22: 1875-6, CR158+FWN102, (La Route) Le mur d’enceinte, 50×65, private (iR59;iR194,no102;R189,no158;R90II,p70+87;R2,p203;R48,no159). For no.23: 1876ca, CR168+FWN96, The Sea at L’Estaque, 42×59, Zurich FR (iR2;iR59;iR194,no96;R189,no168;R90II,p71+87;R2,p214;R48,no172;R163,p67). For no.24: 1875-77, CR171+FWN99, View on the surroundings of Auvers-sur-Oise, 60×50, private (iR2;iR194,no99;R189,no171;R90II,p88;R2,p203;R48,no175). For no.25 she renders two options: 1875-77, CR173, La Côte des Boeufs, Pontoise, 65×54, private (iR2;R189,no173;R90II,p88+71;R2,p203;R48,no176); and: 1876ca, CR464+FWN90, Chestnut Trees and Farmstead of Jas de Bouffan, 51×65, private (iR2;iR194,no90;R189,no464;R90II,p88;R2,p203;R48,no361). Four of these suggestions are also done by the online catalogue of FWN (iR194). Note: Cézanne has made many landscapes before 1877, so there are also other options (R48,p92-96).

3IE-1877-26, Les baigneurs, étude, projet de tableau
There were several contemporary reviews (R90II,p71).
Moffett suggests 1875-78ca, V273, Bathers at rest (four men), 35×46, MAH Geneva (iR10;R90II,p71;R2,p200;R48,no288;R174,p102) and mentions that previously this was thought to be V276 in the Barnes collection. Berson, after a letter from Rewald, states this suggestion is not certain. Joseph J. Rishel defends the suggestion for V276 (R174,p301): 1875-77ca, CR276+FWN926, Bathers at Rest, 82×101, BF Philadelphia (iR2;iR194,no926;R189,no276;R90II,p71;R2,p204;R48,no287;R174,p103+301); once owned by Caillebotte and maybe part of his bequest. Also the online catalogue follows this suggestion FWN926 (iR194). It was later exhibited as: Vollard-1895; =3SdA-1905-320, Les Baigneurs.
I render both options.

3IE-1877-27, Tigre
Moffett suggests CR250, (Wildenstein collection?). Now: 1873-77ca, CR250+FWN648, Tiger (after Barye), 29×37, private (iR10;iR167;iR194,no648;R189,no250;R90II,p71+88;R2,p204;R48,no265); former Chocquet collectie.

3IE-1877-28 Figure de femme, étude d’après nature
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of A.P, Bernadill and Fillonneau (R90II,p71). The online Cézanne catalogue suggests: 1872-77ca, CR228+FWN441, Portrait de Mme Cézanne (with bowed head), 26×30, private (iR246;iR248;iR194,no441;R189,no441;R48,no229). I follow. Note: Cézanne made several portraits of his wife probably before 1877, but the dating often is unsure (CR226+228+229+278+291+292;R48,p98). He also made two studies of young woman (CR277+285), maybe these are also options.

3IE-1877-29, Tête d’homme, étude
Moffett, Berson and FWN suggest: 1876-77, CR283+FWN437, Portrait of Victor Chocquet, 46×37, private NY (iR3;iR2;iR59;iR194,no437;R189,no283;R90II,p29;R2,p215;R48,no243;R163,p67)

3IE-1877-30, Aquarelle, impression d’après nature
3IE-1877-31, Aquarelle, impression d’après nature
Moffett mentions ‘Rewald 8 + 10’ referring to Brettell. Berson refers to Rewald 1983 no.10+17. She renders arbitrarily for no. 30: 1867-70, FWN1013, Rocks, wc, 23×35, SM Frankfurt aM (iR194,no1013;iR10;iR132;R90II,p71+88;R2,p204), also affirmed by FWN. And for no.31: 1867, FWN1014, La Route Montante, wc, 21×35, EBM Tokyo (iR194,no1014;R90II,p71+89;R2,p204), also affirmed by FWN.

3IE-1877-32, Aquarelle, fleurs
Moffett mentions ‘Rewald 17’ referring to Brettell. Berson refers to Rewald 1983 no.8, now: 1865-79, FWN1900, Flowers and fruit, wc, 18×14, private (iR194,no1900;R90II,p71+89;R2,p204). FWN affirms.

3IE-1877-32+hc, Scène fantastique
Moffett suggests 1873ca, CR243, fantasy scene (the fisherman), 54×81, private collection (R2,p13). It hung in room 2. This is affirmed by Berson (R90II,p72+89) and FWN (iR194).

Cézanne at the Salon:
Cézanne only once exhibited at the Salon, more precise at it’s successor de la Société des Artistes Français (=SdAF) (iR1). He was rejected many times, at least from 1865-72 (R410,p226).

SdR-1863-hc
Cézanne was rejected for the 1863 Salon and exhibited at the Salon des Refusés, but was not in the catalogue. Arnold Mortier later in le Figaro (1867/04) described it as ‘showing two pig’s feet in the form of a cross’. (R1,p168;R88II,p414)

S1866-R:
Now: 1866, Anthony Valabrègue, 116×98, NGA Washington (iRx;R1,p139;R88II,p413). His request for a Salon des Refusés was denied by Count Nieuwerkerke, Superintendent of Fine Arts: ‘We have come to realize how inconsistent with the dignity of art the exhibiton of the Refusés was, and it will not be repeated.’ (R1,p142)
Monneret mentions that a work called ‘La Femme à la puce’ (Eng.: the woman with fleas) also was rejected (R88II,p413).

S1867-R:
Arnold Mortier in le Figaro (1867/04) wrote: ‘This time M. Sésame (sic) has sent to the exhibition two compositions which, though less queer, are nevertheless just as worthy of exclusion from the Salon. These compositions are both entitled The wine grog. One depicts a nude man to whom a very dressed-up woman has just brought a wine grog; the other portrays a nude woman and a man dressed as a lazzarone; in this one the grog is spilt.’ (R1,p168+170;R88II,p414). Note: with a ‘lazzarone’ is probably meant a begger (from Naples). Zola replied in Le Figaro (1867/04/12) on Mortier calling the works ‘Grog au vin et Ivresse’ (Eng.: Wine Grog and Intoxication) (R1,p170;R88II,p414).

S1872-R:
Cézanne had been refused (R88II,p231).

S1873:
Cézanne didn’t send in any work (R410,p226).

S1876-R:
Cézanne had been refused (R88II,p398).

S1877-R:
Cézanne had been refused (R88II,p400).

S1879-R:
Cézanne had submitted a work and was refused (R88II,p400;iR1;R5,p113).

SdAF-1882-520, Portrait de M. L. A…
Guillemet, who was in the jury, pleade for Cézanne. This portrait has been lost (R33,p63;R88II,p402).
Still, the online Catalogue Raisonné suggests FWN402 (=iR194).

SdAF-1883-R:
Cézanne had been refused (R88II,p403).

1895, Cézanne solo expo at Vollard:
In 1895, there was a large solo exhibition held at the Gallerie Vollard. No catalogue was issued, although there were approximately 150 pictures exhibited on a rotating basis. It included (possibly) FWN 113 +118 +154 +176 +202 +222 +224 +236 +248 +251 +279 +281 +288 +303 +422 +438 +444 +448 +463 +466 +467 +469 +484 +495 +496 +497 +509 +511 +518 +596 +604 +610 +637 +655 + 657 +659 +660 +722 +724 +756 +760 +763 +765 +779 +783 +797 +799 +820 +850 +860 +862 +901 +908 +913 +926 +942 +944 +1848 +1861 +1923 +1924 +1925 +1944 +2003 +2016 +2020. (aR6=iR194).

Cézanne at Les XX:
Cézanne joined Les XX in Brussels in 1890 (R88II,p211). See suggestions made by the FWN (iR194).

7XX-1890-1, Étude de paysage (lent by Bonnières).
=1881 (1879-82), V324=FWN158, Le moulin sur la Couleuvre à Pontoise, 73×92, Ng Berlin (R189,no324;R48,no330;iR194,no158;M52)
7XX-1890-2, Chaumière à Auvers-sur-Oise (lent by Chocquet)
=1872-73, V133+FWN81, Auvers-sur-Oise, house of the hanged man, 55×66, Orsay (iR2;iR59;iR194,no81;R189,no133;R90II,p21;R87,p235;R2,p120;R410,no170;R48,no136;R1,p334;R163,p46;R231;M1)
=1IE-1874-42, La maison du Pendu, à Auvers-sur-Oise
=EU-1889-C-124, La maison du pendu (à M. Choquet)
7XX-1890-3, Esquisse de Baigneuse.
1888-90 (1900ca), V726=FWN956, Quatre baigneuses, 73×92, NCG Copenhagen (R189,no726;R48,no654;iR194,no956;M90)

Cézanne at the Salon des Indépendants:
Cézanne exhibited at the Salon des Indépendants in 1899 + 1901 + 1902 + 1905? (R285,p369;R48;R34,p63+67;R164,p14).

15SdI-1899-20, Nature morte.
15SdI-1899-21, Nature morte.
15SdI-1899-22, Paysage.
All 3 works are not identified (FWN=iR194)

17SdI-1901-154, Nature morte.
=5SdA-1907-43, La Carafe (à Gangnat)
=1890-95, V625=FWN857, La bouteille de menthe, 65×81, NGA Washington (R189,no625;R48,no781;iR194,no857;M21)
17SdI-1901-155, Paysage.
11LE-EPI-1904-17, La Fontaine, lent by Baron Cochin.
=? 1885-86 (1888-90), V648=FWN215, Bassin et lavoir du Jas de Bouffan, 65×81, xx (R189,no648;R48,no670;iR194,no215).

18SdI-1902-321, Nature morte.
=? 1877-79 (1873-77), V197=FWN745, The desert (Still life with bottle glass fruit and dessert), 59×73, Philadelphia MA (iR10;iR94;iR6;iR59;iR194,no745;R189,no197;R90II,p87;R2,p194;R48,no196;M28)
=London-GG-1905-39, Dessert (1878);
Option for: 3IE-1877-18, Nature morte.
18SdI-1902-322, Paysage. =???
18SdI-1902-323, Paysage (à M. P.S.).
=loan by Signac; =1880ca (1879-82), V311=FWN147, La plaine de Saint-Ouen-l’Aumône, vue prise des carrières du Chou, 72×91, xx (R189,no311;R48,no322;iR194,no147)

Galerie d’art des édition G. Crès & Cie, Paris, ‘Indépendants’: œuvres d’artistes ayant exposé à la Société des artistes indépendants de 1884 à 1904, December 18, 1919–January 20, 1920 (iR194)

SdI-retro-1919/20-11, Auvers-sur-Oise (1902), lent by Paul Signac.
=18SdI-1902-323, Paysage (à M. P.S.).
=loan by Signac; =1880ca (1879-82), V311=FWN147, La plaine de Saint-Ouen-l’Aumône, vue prise des carrières du Chou, 72×91, xx (R189,no311;R48,no322;iR194,no147)

Société des artistes indépendants, Grand Palais, Paris, Trente ans d’art indépendant: rétrospective de 1884 à 1914, February 20–March 21, 1926 (iR194)

SdI-retro-1926-2868, L’Enfant au chapeau de paille, lent by Hodebert (Gal. Barbazanges)
=1896, V700=FWN520, L’Enfant au chapeau de paille, 69×58, xx (R189,no700;R48,no593;iR194,no520)
SdI-retro-1926-2869, Portrait de Madame Cézanne, lent by Paul Guillaume.
=1890ca (1885-90), V523=FWN483, Portrait of Mme Cézanne, 81×65, MN Paris (R189,no523;R48,no534;iR194,no483)
SdI-retro-1926-2870, Baigneuses, lent by Paul Guillaume.
=1880ca (1883-87), V547=FWN942, 39×35, xx (R189,no547;R48,no565;iR194,no942)
SdI-retro-1926-2871, Petit Nu, lent by Paul Guillaume.
=1876ca (1875-77), V260=FWN926, Baigneur assis au bord de l’eau, 29×21, xx (R189,no260;R48,no292;iR194,no926)
SdI-retro-1926-2872, L’Estaque, lent by Pacquement.
=1879-83 (1886-90), V489=FWN155, La baie de l’Estaque, 60×73, MA Philadelphia (R189,no489;R48,no426;iR194,no155;M28)
SdI-retro-1926-2873, Pot de fleurs, lent by Pacquement.
=1879-80 (1875-76), V198=FWN783, Les Bégonias, 46×55, Bührle Zurich (R189,no198;R48,no221;iR194,no783;M85)
SdI-retro-1926-2874, Portrait de Cézanne par lui-même, lent by Kapferer.
=2SdA-1904-SPC-5, Portrait de l’auteur par lui-même avec chapeau (loan by Vollard).
=1879-82, V366=FWN451, Portrait de l’artiste au chapeau à large bord, 65×51, Km Bern (R189,no366;R48,no503;iR194,no451;M88)
SdI-retro-1926-2875, Nature morte, lent by private collection.
=1891-92 (1885-87), V502=FWN841, Grosses pommes, 45×59, xx Bern (R189,no502;R48,no482;iR194,no841)
SdI-retro-1926-2875a, Paysage, lent by Renou.
=1881ca (1879-82), V308=FWN167, Maisons au Chou, à Pontoise, 80×64, xx Bern (R189,no308;R48,no318;iR194,no167)

Cézanne at the Exposition Universelle:
Works of Cézanne were exhibited at the Exposition Universelle in 1889 at the Centennial exhibition and in 1900 at the Centennial exhibition.

1889, Exposition Centennale (=EU-1889-C) (R231-5):
EU-1889-C-124, La maison du pendu (app. à M. Choquet) (sic)
=1872-73, V133+FWN81, Auvers-sur-Oise, house of the hanged man, 55×66, Orsay (iR2;iR59;iR194,no81;R189,no133;R90II,p21;R87,p235;R2,p120;R410,no170;R48,no136;R1,p334;R163,p46;R231;M1)
=1IE-1874-42, La maison du Pendu, à Auvers-sur-Oise
=7XX-1890-2, Chaumière à Auvers-sur-Oise (lent by Chocquet)

1900, Exposition Centennale (=EU-1900-C) (R231-1+2)
See the suggestions given by the FWN (=iR194).

EU-1900-C-86, Nature morte: fruits (appartient à M. Viau)
=Viau sale DR1907/03/02-04, no.13, Sbl, Fruits, 46x55cm; Exposition Centennale, 1900, no.86; Exposition de la Sécession, Vienne, 1903, no.62; Exposition de la Libre Esthétique, Bruxelles, 1904, no.13. Described as: “An unfolded napkin and a few bright red apples next to a knife with a yellowed ivory handle. To the left, next to an apple whose green hue stands out against the white of the napkin, an earthenware compotier filled with peaches and grapes. To the right, a large drinking glass, one-third full of water, stands out against the foliage-decorated background.” (iR261)
=1879-82, V341=FWN780, Still life with fruit bowl (Nature morte au compotier), 46×55, MoMa New York (iR10;M41;iR493;iR261;R231-1;R189,no341;R48,no452;iR194,no780)
Provenance: Viau; sale DR1907/03/02-04, no.13 -> Prince of Wagram (19.000fr) (iR493).
=Vienna-EdI-1903-62, Stilleben (Viau)
=11LE-EPI-1904-13.
EU-1900-C-87, Paysage (appartient à M. Pellerin)
=1873-75, V152=FWN84, Paysage des bords de l’Oise, le Valhermeil, Auvers-sur-Oise, 72×91, FAM San Francisco (R189,no152;R48,no157;iR194,no84;M30)
EU-1900-C-88, Mon Jardin (appartient à M. Vollard; on behalf of Cézanne fils)
=5SdA-1907-26, Le Bassin du Jas de Bouffan (à Cézanne fils)
=1875-76ca, S-, V167=FWN92, Le bassin du Jas de Bouffan, ?cm, xx (R189,no167;R48,no169;iR194,no92)

Cézanne at the Salon d’Automne:
Works of Cézanne were exhibited at the the Salon-d’Automne (=SdA) in 1903 (3xhc?) + 1904 (one room; 31x) + 1905 (10x) + 1906 (10x) + 1907 (posthumous; 56x) (R249;R48;R34,p67;R163,p130;R164,p15).

In 1903 at the 1st exhibition of the Salon d’Automne Cézanne exhibited 3 paintings (iR194).

1SdA-1903-hc1?, Nature Morte
1SdA-1903-hc2?, Paysage
1SdA-1903-hc3?, La partie des cartes

In 1904 at the 2nd exhibition of the Salon d’Automne Cézanne exhibited 33 pictures; there were also 3×9 photos of paintings shown within 3 frames (iR194).
Salle Cézanne, October 15–November 15, 1904 (exhibition catalogue, 2 editions: a: nos. 1-31 and b: nos. 1-33).
For the first time photographs of works by Cezanne were displayed in four frames each containing nine images, no. 24 (Salle Cézanne) and nos. 2045-2047 (Photographie). Note: The online Catalogue Raisonné (iR194) renders more loans (loan by…) as the catalogue does (à M. …).

2SdA-1904-SPC-1, Le fumeur (loan by Vollard).
=1891ca (1895-1900), V686=FWN506, Le fumeur accoudé, 92×73, Hermitage (R189,no686;R48,no601;iR194,no506;M95)
2SdA-1904-SPC-2, La dame au chapeau vert (loan by Vollard).
=1891-92 (1894-95), V704=FWN484, Madame Cézanne au chapeau vert, 100×81, Barnes (R189,no704;R48,no569;iR194,no484;M25)
2SdA-1904-SPC-3, Portrait de Mme C… (loan by Vollard).
=1885-87, V528=FWN487, Portrait de madame Cézanne, 99×77, xx (R189,no528;R48,no533;iR194,no487)
2SdA-1904-SPC-4, Tête de veillard (loan by Vollard).
=1866ca (1860-65ca), V17=FWN414, Tête de vieillard (Le père Rouvel à Bennecourt?), 51×48, Orsay (R189,no17;R48,no51;iR194,no414;M1)
2SdA-1904-SPC-5, Portrait de l’auteur par lui-même avec chapeau (loan by Vollard).
=1879-82, V366=FWN451, Portrait de l’artiste au chapeau à large bord, 65×51, Km Bern (R189,no366;R48,no503;iR194,no451;M88)
=SdI-retro-1926-2874, Portrait de Cézanne par lui-même, lent by Kapferer.
2SdA-1904-SPC-6, Portrait de l’auteur par lui-même, nu-tête (loan by Vollard).
=1877ca, V290=FWN449, Portrait de l’artiste, 61×46, Philips Washington (R189,no290;R48,no242;iR194,no449;M29)
=Saint-Petersbourg-1912-588 (or 591), Portrait de l᾿artiste (Self-Portrait) (Theo Behrens in Hamburg)
2SdA-1904-SPC-7, La montagne de Sainte-Victoire (loan by Vollard).
=1878-79 (1882-85), V423=FWN127, La Montagne Sainte-Victoire vue de chemin de Valcros (et la bastide La Générale), 60×73, Puskin Moscow (R189,no423;R48,no430;iR194,no127;M96)
2SdA-1904-SPC-8, La maison blanche (loan by Vollard).
=1875-76, V163=FWN95, Paysage provençal, au toit rouge (Pine forest, L’Estaque), 72×58, MN Paris (R189,no163;R48,no160;iR194,no95) Provenance: Walter-Guillaume.
=? Saint-Petersbourg-1912-588d, La Maison blanche, lent by Vollard.
2SdA-1904-SPC-9, La dame à l’éventail (loan by Vollard).
=1879 + 1886-88 (1879-82), V369=FWN447, Madame Cézanne à l’éventail, 93×73, Bührle Zurich (R189,no369;R48,no498;iR194,no447;M85)
2SdA-1904-SPC-10, Portrait d’homme (loan by Vollard).
=1899ca (1895-1900), V689=FWN528, L’Homme aux bras croisés, 92×73, Guggenheim New York (R189,no689;R48,no598;iR194,no528;M228)
=Saint-Petersbourg-1912-589, Homme assis, lent by Vollard (iR194)
2SdA-1904-SPC-11, Nature morte (loan by Vollard).
=???
2SdA-1904-SPC-12, La maison du pendu (paysage) (loan by Vollard).
=1879ca (1873-75), V148=FWN137, Maison dans les arbres, 92×73, xx (R189,no148;R48,no153;iR194,no137)
2SdA-1904-SPC-13, Fleurs dans un pot vert (loan by Vollard).
=1890-94, V618=FWN827, Le vase de tulipes, 73×42, xx (R189,no618;R48,no825;iR194,no827)
2SdA-1904-SPC-14, Géraniums dans un pot blanc (loan by Vollard).
=? 1877ca (1873-77), V216=FWN735, Le vase de fleurs sur une table ronde, 49×36, xx (R189,no216;R48,no218;iR194,no735) Location: Dr. Gachet, Auvers.
2SdA-1904-SPC-15, L’aqueduc (loan by Vollard).
=1890ca (1885-87), V477=FWN265, La Montagne Sainte-Victoire et viaduc du côté de Valcros, 92×73, Puskin Moscow (R189,no477;R48,no402;iR194,no265;M96)
2SdA-1904-SPC-16, Paysage (à M. Vollard)
=???
2SdA-1904-SPC-17, La maison abandonnée (loan by Blot).
=1878-79 (1892-94), V659=FWN113, La maison abandonnée, 49×59, xx (R189,no659;R48,no687;iR194,no113)
2SdA-1904-SPC-18, Les fleurs (à M. Blot)
=1889-90 (1883-87), V512=FWN823, Le vase bleu, 61×50, Orsay (R189,no512;R48,no493;iR194,no823;M1)
2SdA-1904-SPC-19, Le mardi gras (loan by Durand-Ruel).
=Vienna-EdI-1903-61, Pierrot und Harlekin (Durand-Ruel)
=1888ca, S-, V552=FWN668, Mardi gras, 100×81, Puskin Moscow? (R189,no552;R48,no621;iR194,no668;M96) Provenance: Chocquet.
2SdA-1904-SPC-20, Nature morte (loan by Durand-Ruel).
=1877-79 (1873-77), V196=FWN744, Pommes et gâteaux, 46×55, xx (R189,no196;R48,no195;iR194,no744)
=? 3IE-1877-17, Nature morte
=London-GG-1905-43, Apples and Cakes (1877).
2SdA-1904-SPC-21, Nature morte (loan by Durand-Ruel).
=1877ca (1873-77), V207=FWN742, Dish of Apples (Le plat de pommes), 46×55, Metropolitan (iR2;iR59;iR194,no742;R189,no207;R90II,p87;R2,p203;R48,no206)
=London-GG-1905-45, Apples (1877)
2SdA-1904-SPC-22, Les petites maisons d’Auvergne (loan by Durand-Ruel).
=1873-74, V156=FWN82, Petites maisons à Pontoise, près d’Auvers-sur-Oise, 40×54, FAM Cambridge (R189,no156;R48,no147;iR194,no82;M32)
=London-GG-1905-41, Cottages at Auvers (1881), lent by Galerie Durand-Ruel.
2SdA-1904-SPC-23, Portrait de M. Chocquet (à MM. Durand-Ruel et fils)
=1877 (1879-82ca), V373=FWN439, Portrait of Victor Chocquet, seated, 46×38, Columbus MA (iR2;iR194,no439;R48,no501;R34,p35;R163,p60;R189,no373;M156)
=Vienna-EdI-1903-59, Portrait des Herrn Chocquet (Durand-Ruel)
=London-GG-1905-42, Portrait of M. Chocquet (1879), lent by Galerie Durand-Ruel.
2SdA-1904-SPC-24, Un cadre contenant neuf photographies.
2SdA-1904-SPC-25, Paysage (loan by Vollard).
=???
2SdA-1904-SPC-26, Le port de Marseille (loan by Vollard).
=1883ca (1882-85), V411=FWN190, Saint-Henri et le golfe de Marseille, 65×81, Philadelphia MA (R189,no411;R48,no420;iR194,no190;M28)
2SdA-1904-SPC-27, Baigneurs (loan by Vollard).
=1890ca (1892-94), V587=FWN947, Baigneurs, 22×33, xx (R189,no587;R48,no649;iR194,no947)
2SdA-1904-SPC-28, Baigneuses (loan by Vollard for Matisse).
=1876-77 (1879-82), V381=FWN923, Trois baigneuses, 58×55, PP Paris (R189,no381;R48,no543;iR194,no923;M4) Provenance: Henri Matisse.
=PR-XIX-1919-?8,
2SdA-1904-SPC-29, Baigneurs (loan by Vollard).
=1879-82, V390=FWN936, Cinq baigneurs, 60×73, xx (R189,no390;R48,no552;iR194,no936)
2SdA-1904-SPC-30, Nature morte (loan by Vollard).
=???
2SdA-1904-SPC-31, Nature morte (à M. Vollard).
=???
2SdA-1904-SPC-32, Étude (dessin) (loan by Thiébaut-Sisson).
=???
2SdA-1904-SPC-33, Étude (dessin) (à M. Thiébaut-Sisson).
=???
2SdA-1904-SPC-33+1, =? no.8
=1877ca, FWN108, Rue du Fond-de-l’Hermitage, quartier de l’Hermitage, Pontoise.
Compare (reverse): 1873-75, V143, 60×73, xx (R48,no152)
=Basel-XIX-1915-59, Maison dans les abres.
2SdA-1904-SPC-33+2, =? no.16 or no.25.
=1887-88 (1890-94), V658=FWN242, Le Pilon du Roi, 80×94, Km Winterthur (R189,no658;R48,no683;iR194,no242;M87) Provenance: Oskar Reinhart.
2SdA-1904-SPC-33+3,
=1883-85, V543=FWN944, Baigneuses devant une tente,63×81, Sg Stuttgart (R189,no543;R48,no561;iR194,no944;M275)
2SdA-1904-2045, Un cadre contenant neuf photographies.
2SdA-1904-2046, Un cadre contenant neuf photographies.
2SdA-1904-2047, Un cadre contenant neuf photographies.

In 1905 at the 3rd exhibition of the Salon d’Automne Cézanne exhibited 10 paintings (iR194; iR261).

3SdA-1905-314, Nature morte.
=1877ca, V209, Compotier et assiette de biscuits, 53×63, xx (R189,no209;R48,no208;iR194,no?)
3SdA-1905-315, Portrait de l’artiste.
=1883-85, V518, Self-portrait, 34×25, xx (R189,no518;R48,no510;iR194,no?)
3SdA-1905-316, Paysage.
=1875-76ca, V164, Le bassin du Jas de Bouffan en hiver, 53×56, xx (R189,no164;R48,no168;iR194,no?)
3SdA-1905-317, Les Moissonneurs.
=1877ca (1875-76), V249=FWN651, La moisson, 46×55, xx (R189,no249;R48,no274;iR194,no651) Provenance: ? Gauguin.
3SdA-1905-318, Paysage de Provence.
=???
3SdA-1905-319, Bord de rivière (?).
=1877-79ca (1873-75), V232=FWN6372, S-, Au bord de l’etang (The pond), 47×56, MFA Boston (M22;iR6;iR194,no637;R189,no232;R48,no259) Provenance: Caillebotte; rejected by the State.
3SdA-1905-320, Les Baigneurs.
=1875-77ca, V276=FWN926, Bathers at Rest, 82×101, Barnes Philadelphia (iR6;M25,BF906;aR11,p413;iR2;iR194,no926;R48,no287;R189,no276;R90II,p71;R2,p204;R48,no287;R174,p102-105+301)
=? 3IE-1877-26, Les baigneurs, étude, projet de tableau.
=Vollard-1895
3SdA-1905-321, Bouquet de fleurs.
=1875-77ca, FWN722=V222, Flowers in a Rococo vase, 73×58, NGA Washington (iR10;iR166;iR6;iR194,no722;R189,no222;R48,no223;M21)
=rejected Caillebotte bequest.
=? 3IE-1877-21, Étude de fleurs.
3SdA-1905-322, L’Estaque.
=? 1879-83 (1886-90), V492=FWN154, L’Estaque, 78×97, xx (R189,no492;R48,no427;iR194,no154)
3SdA-1905-323, Portrait de femme.
=1883-85 (1872-77), V229=FWN466, Madame Cézanne en robe rayée, 55×46, xx (R189,no229;R48,no228;iR194,no466)
=USA-Armory-1913-NY580=Ch46=B21, Portrait de Madamme Cézanne, lent by John Quinn.

In 1906 at the 4th exhibition of the Salon d’Automne Cézanne exhibited 10 paintings (iR194; iR261). Note the online catalogue raisonné (iR194) indicates more works as loans (lent by…) as the catalogue (à M. …).

4SdA-1906-317, Maison en Provence.
=1886-90 (1885-86), V433=FWN227, Maison devant la Sainte-Victoire près de Gardanne (Beaurecueil), 65×81, HMA Indianapolis (R189,no433;R48,no434;iR194,no227)
4SdA-1906-318, Les Pins dans les Rochers.
=???
4SdA-1906-319, Assiette de Pommes, Pot vert et sucrier (nature morte).
=1887-88 (1883-87), V496=FWN807, Nature morte à la commode, 71×90, (NSg) Pinakothek Munich (R189,no496;R48,no470;iR194,no807;M53)
4SdA-1906-320, Le Buffet, (nature morte) (lent by Vollard).
=1877-79 (1873-77), V208=FWN746, Le buffet, 75×81, SM Budapest (R189,no208;R48,no205;iR194,no746;M142)
4SdA-1906-321, Paysage (lent by Vollard)
=???
4SdA-1906-322, Le Jeune homme au foulard blanc (lent by Vollard)
=1879-82, V374=FWN448, Portrait de Louis Guillaume, 56×47, NGA Washington (R189,no374;R48,no497;iR194,no448;M21)
4SdA-1906-323, Maison dans les arbres (à M. Vollard)
=???
4SdA-1906-324, Marine (lent by Hessel).
=???
4SdA-1906-325, Portrait de Femme (lent by Hessel).
=???
4SdA-1906-326, Le Chemin tournant (à M. Hessel)
=1881ca (1879-82), V330=FWN160, Maisons au bord d’une route I, 60×73, xx (R189,no330;R48,no411;iR194,no160)

1907, Rétrospective at the 5th exhibition of the Salon d’Automne (iR194)
Rétrospective d’oeuvres de Cézanne, October 1–22, 1907 (exhibition catalogue).
Cezanne’s first major retrospective assembled primarily from the Pellerin, Cezanne fils, and Gangnat collections. Nos. 49–56 were lent by Vollard, who had recently acquired them from the artist’s estate.

5SdA-1907-1, L’Avocat (à Pellerin)
=1865-67, S-, V74=FWN410, L’Avocat (l’Oncle Dominique), 63×52, xx (R189,no74;R48,no59;iR194,no410)
5SdA-1907-2, L’Homme à la blouse blanche (à Pellerin)
=1865-67, S-, V73=FWN412, L’Homme au bonnet de coton (l’Oncle Dominique), 84×64, MoMA New York (R189,no73;R48,no56;iR194,no412;M41)
5SdA-1907-3, La Tentation de Sainte-Antoine (à Pellerin)
=1873-77ca, V241=FWN650, La Tentation de Sainte-Antoine, 47×56, xx (R189,no241;R48,no268;iR194,no650)
5SdA-1907-4, La Femme au boa (à Pellerin)
=1885-86 (1879-82), S-, V376=FWN472, La Femme à l’ermine (d’après Coello=El Greco), 53×49, xx (R189,no376;R48,no500;iR194,no472)
5SdA-1907-5, Le Veau d’or (à Pellerin)
=1877ca, V247=FWN649, L’Étemel Féminin; Le Veau d’or; Le triomphe de la femme; La belle Impéria, 43×53, private New York (R189,no247;R48,no280;iR194,no649)
5SdA-1907-6, Étude de femme (à Pellerin)
=1864, SD, V22=FWN 395, Tête de femme (? Gabrielle Meley), 46×38, xx (R189,no22;R48,no53;iR194,no395)
5SdA-1907-7, Lecture d’un manuscrit d’Emile Zola (à Pellerin)
=1869-70, S-, V118=FWN601, Une lecture de Paul Alexis chez Zola, 52×56, xx (R189,no118;R48,no59;iR194,no601)
5SdA-1907-8, Le pendule (à Pellerin)
=1867-70, V69=FWN708, La pendule noir, 54×73, private Niarchos Paris (R189,no69;R48,no126;iR194,no708)
=Budapest-XIX-1913-73, Still life, lent by Kohner.
5SdA-1907-9, Les voleurs et l’âne (à Pellerin)
=1869-70ca, V108=FWN612, Les voleurs et l’âne, 41×55, GAM Milan (R189,no108;R48,no34;iR194,no612;M107)
5SdA-1907-10, Paysage en montagne (à Pellerin)
=? 1882ca (1885-87), V453=FWN184, La Montagne Sainte-Victoire vue de Montbriand, 48×59, xx (R189,no453;R48,no437;iR194,no184)
5SdA-1907-11, Leda (à Pellerin)
=1880ca (1886-90?), V550=FWN660, Léda au cygne, 60×73, Barnes (R189,no550;R48,no541;iR194,no660;M25)
=PR-XIX-1919-?3,
5SdA-1907-12, Paysage (à Pellerin)
=1881-82 (1878-83), V303=FWN177, L’Arbre au tournant, 60×73, xx (R189,no303;R48,no313;iR194,no177)
5SdA-1907-13, Paysage (à Pellerin)
=???
5SdA-1907-14, Les joueurs de cartes (à Pellerin)
=1892-96 (1890-92), V556=FWN685, Les joueurs de cartes, 26×21, xx (R189,no556;R48,no638;iR194,no685)
5SdA-1907-15, Fleurs (à Pellerin)
=? 1877ca (1873-77), S-, V217=FWN730, Les deux vases de fleurs, 54×44, xx (R189,no217;R48,no219;iR194,no730)
5SdA-1907-16, Portrait de Gustave Geffroy (à Pellerin)
=Paris-BJ-EEI-1903-9, La bibliothèque (à Gustave Geffroy)
=1895 (or 1896), S-, V692=FWN516, Portrait de Gustave Geffroy, 116×89, xx (R189,no692;R48,no589;iR194,no516).
5SdA-1907-17, Nus (à Pellerin)
=1895-1905 (1900-05), S-, V721=FWN979, Grandes baigneuses II, 130×195, NG London (R189,no721;R48,no658;iR194,no979;M61)
5SdA-1907-18, Portrait de Mme Cézanne (à Pellerin)
=1888-90 (1890-94), V570=FWN493, S-, Mme Cézanne (Hortense Fiquet in a red dress; Yellow chair), 117×90, Metropolitan (iR3;R48,no573;R189,no570;iR194,no493;M23,no62.45).
5SdA-1907-19, Baigneuses (à Pellerin)
=1906 (1898-1905), S-, V719=FWN981, Grandes baigneuses I, 208×249, MA Philadelphia (R189,no719;R48,no657;iR194,no981)
5SdA-1907-20, Nature morte (à Pellerin)
=???
5SdA-1907-21, La Paysanne (à Pellerin)
=? 1877ca (1873-77), S-, V285=FWN440, Jeune paysanne, 48×40, xx (R189,no285;R48,no234;iR194,no440)
5SdA-1907-22, Portrait de peintre (à Pellerin)
=1875ca (1873-76), S-, V286=FWN436, Portrait de l’artiste au fond rose, 65×54, xx (R189,no286;R48,no237;iR194,no436)
5SdA-1907-23, La table de cuisine (à Pellerin)
=1888-90, V594=FWN813, La table de cuisine (Nature morte au panier), 65×80, Orsay (R189,no594;R48,no770;iR194,no813;M1)
5SdA-1907-24, Paysage (à Pellerin)
=???
5SdA-1907-25, La Dame en noir (à Pellerin or Cézanne fils)
=1890-92, V569=FWN509, Madame Cézanne dans la serre, 92×73, Metropolitan (R189,no569;R48,no569;iR194,no509;M23)
5SdA-1907-26, Le Bassin du Jas de Bouffan (à Cézanne fils)
1875-76ca, S-, V167=FWN92, Le bassin du Jas de Bouffan, 46×56, Hermitage (iR6;R189,no167;R48,no169;iR194,no92;M95)
=EU-1900-C-88, Mon Jardin (appartient à M. Vollard; on behalf of Cézanne fils)
=Bremen-1914-74
5SdA-1907-27, La Vallée de l’Arc (à Cézanne fils)
=???
5SdA-1907-28, Oignons (à Cézanne fils)
=1896-98 (1895-1900), V730=FWN866, Nature morte aux oignons, 66×81, Orsay (R189,no730;R48,no807;iR194,no866;M1)
5SdA-1907-29, Oranges (à Cézanne fils)
=1892-94 (1890-91), V592=FWN842, Nature morte, 73×92, Barnes (R189,no592;R48,no774;iR194,no842;M25)
5SdA-1907-30, Les deux promeneuses (1870) (à Cézanne fils)
=1870-71, S-, V119=FWN608, La promenade, 58×46, xx
(R189,no119;R48,no37;iR194,no608)
5SdA-1907-31, La Montage Sainte-Victoire, aquarelle (à Cézanne fils)
=? 1888-90, FWN1237, La Montagne Sainte-Victoire,
5SdA-1907-32, Paysage d’Auvers, aquarelle (à Cézanne fils)
=???
5SdA-1907-33, Sainte-Victoire et l’Arbre, aquarelle (à Cézanne fils)
=1885ca, FWN1130, La Vallée de l’Arc,
5SdA-1907-34, Le Jas de Bouffan, aquarelle (à Cézanne fils)
=1870ca, FWN1018, Le manoir du Jas de Bouffan,
5SdA-1907-35, Baigneuses, aquarelle (à Cézanne fils)
=1903ca, FWN2044, Baigneuses,
5SdA-1907-36, La Bouteille de cognac, aquarelle (à Cézanne fils)
=1906, FWN1988, La bouteille de cognac,
5SdA-1907-37, La Nappe, aquarelle (à Cézanne fils)
=1895-1900, FWN1959, Théière et organges (La nappe),
5SdA-1907-38, L’Arlequin (à Gangnat)
=1888-90, S-, V563=FWN670, Arlequin, 92×65, xx (R189,no563;R48,no622;iR194,no670)
=PR-XIX-1917-10, Arlequin lent by Rosenberg.
5SdA-1907-39, La Montagne rocheuse (à Gangnat)
=1897ca (1898-1900), V766=FWN315, La Montagne Sainte-Victoire, vue de Bibémus, 65×81, MFA Baltimore (R189,no766;R48,no759;iR194,no315;M24)
5SdA-1907-40, La rivière (à Gangnat)
=1881ca (1888-94), S-, V644=FWN166, La rivière (Trees at the bank of a river), 50×61, xx (R189,no644;R48,no744;iR194,no166)
5SdA-1907-41, Route rocheuse (à Gangnat)
=???
5SdA-1907-42, Le grand arbre (à Gangnat)
=1885ca (1885-87), S-, V459=FWN221, Grand pin et terres rouges (Bellevue), 81×100, xx (R189,no459;R48,no391;iR194,no221)
5SdA-1907-43, La Carafe (à Gangnat)
=1890-95, V625=FWN857, La bouteille de menthe, 65×81, NGA Washington (R189,no625;R48,no781;iR194,no857;M21)
=17SdI-1901-154, Nature morte.
5SdA-1907-44, Le Compotier (à Gangnat)
=1895-1900, V736=FWN869, Nature morte aux pommes, 68×92, MoMA New York (R189,no736;R48,no796;iR194,no869;M41)
5SdA-1907-45, Portrait d’Emperaire (à E. Boch or Gangnat)
=1867-68, V88=FWN423, Portrait du peintre Achille Emperaire, 200×122, xx (R189,no88;R48,no72;iR194,no423)
5SdA-1907-46, Les peintres (à Aubry or Gangnat)
=1866, V96=FWN400, Marion et Valabrèque partant pour le motif (Two walking men), 39×31, xx (R189,no96;R48,no24;iR194,no400)
5SdA-1907-47, Femme au chapelet (à Gangnat)
=1895-96 (1900-04), V702=FWN515, La vieille au chapelet, 85×65, NG London (R189,no702;R48,no612;iR194,no515;M61)
=10SdA-1912-49, Femme au chapelet, à E. Druet.
=USA-Armory-1913-NY214=Ch38=B14, Femme au chapelet, lent by Druet.
5SdA-1907-48, Nature morte (à Gangnat)
=1888-90, FWN814, Nature morte
5SdA-1907-49?, Le Château Noir (à Bernheim-Jeune and Vollard or Gangnat)
=1900-04 (1904), V796=FWN359, Château Noir, 74×97, NGA Washington (R189,no796;R48,no728;iR194,no359;M21)
5SdA-1907-50, Un vieillard (à Vollard or Gangnat)
=1902-06 (1904-05), V716=FWN544, Le jardinier Vallier vu de face; Le Marin, 107×75, NGA Washington (R189,no716;R48,no618;iR194,no544;M21)
5SdA-1907-51, Un vieillard (à Vollard or Gangnat)
=1902-06 (1904-05), V717=FWN545, Le jardinier Vallier vu de face; Le Marin, 100×81, xx (R189,no717;R48,no619;iR194,no545)
5SdA-1907-52, Parc (à Vollard or Gangnat)
=???
5SdA-1907-53, Madame Cézanne (à Fabbri or Gangnat)
=1877ca, V292=FWN443, Madame Cézanne à la jupe rayée, 73×56, MFA Boston (R189,no292;R48,no232;iR194,no443;M22)
5SdA-1907-54, Paysage bleu (à Vollard or Gangnat)
=1900-06, V793=FWN345, Paysage bleu (trees and houses), 102×83, Puskin Moscow? (R189,no793;R48,no725;iR194,no345;M96)
5SdA-1907-55, Paysage avec fabrique (à Vollard or Gangnat)
=???
5SdA-1907-56, Arbres et Roches (à Gangnat or Vollard)
=? 1900-04ca, V788=FWN337, Arbres et rochers dans le parc du Château Noir, 92×73, xx (R189,no788;R48,no717;iR194,no337)
5SdA-1907-56+hc1, (à Monet)
18666-67ca, V100=FWN422, Le nègre Scipion, 107×83, MBA São Paulo (R189,no100;R48,no19;iR194,no422;M115)
5SdA-1907-56+hc2, Femmes à la crinoline.
=1870ca (1860-62ca), S-, V24=FWN606, Femmes et fillette dans un intérieur, 92×57, Pushkin Moscow? (R189,no24;R48,no14;iR194,no606;M96).
=Florence-PMII-1910-2, Due signare e bambina (Vollard)

In 1912 at the 10th exhibition of the Salon d’Automne 3 paintings of Cézanne were exhibited (iR194)
Salon d’Automne, Grand Palais, Paris, Portraits du XIXe siècle, October 1–November 8, 1912.

10SdA-1912-49, Femme au chapelet, à E. Druet.
=5SdA-1907-47, Femme au chapelet (à Gangnat)
=1895-96 (1900-04), V702=FWN515, La vieille au chapelet, 85×65, NG London (R189,no702;R48,no612;iR194,no515;M61)
=USA-Armory-1913-NY214=Ch38=B14, Femme au chapelet, lent by Druet.
10SdA-1912-50, Portrait de Cézanne, à Vollard. =???
10SdA-1912-51, Portrait de Valabrègues (sic), à Denys Cochin. =???

1923, Rétrospective des Rétrospectives of the Salon d’Automne:
Salon d’Automne, Grand Palais, Paris, Rétrospective des Rétrospectives faites au Salon d’Automne de 1904 à 1922, November 1–December 16, 1923 (iR194)

SdA-1923-2355, Les Joueurs de cartes (lent by Vollard)
=? 1890-92, V559=FWN681, Les joueurs de cartes, 65×81, xx (R189,no559;R48,no634;iR194,no681)

Cézanne at regional exhibitions:
There were works of Cézanne exhibited posthumous at regional exhibitions in Rouen and Marseille (iR1;iR261;iR242).

Rouen-1907-47, La Route.
Correspondance address at M.M. Bernheim.

Marseille-SdM-1912-1, La femme au fauteuil.
Marseille-SdM-1912-2, Paysage.

Cézanne at Centennial exhibitions:
Works of Cézanne were posthumously exhibited at Centennial exhibitions.

1912, Saint-Peterbourg:
Institut français, Mansion of Yusupova (42 Liteiny Avenue), St. Petersburg, Russian Federation, [Exposition centennale de l’art français, 1812-1912], opening January 15.
Organised by Serguei Makovsky, editor of Apollon magazine and L’Institut français, St. Petersburg. The preface for the painting section was done by Arsène Alexandre.

Saint-Petersbourg-1912-588, Portrait de l᾿artiste (Self-Portrait) (Theo Behrens in Hamburg)
Saint-Petersbourg-1912-589, Paysage (esquisse) (Landscape) (Sketch)
Saint-Petersbourg-1912-590, La route (Road)
Saint-Petersbourg-1912-591, Portrait de l᾿artiste (Self-Portrait) (Vollard in Paris)

Note: the online catalogue raisonné claims there were 18 paintings of Cézanne shown and renders other titles and numbering. All of the Cezannes were lent by Vollard with the exception of No. 591, which was lent by Theo Behrens. Most works stay unidentified. (iR194)

Saint-Petersbourg-1912-588, Arlequin, lent by Vollard.
=1888-90, V555=FWN669, Arlequin, ?cm, xx (R189,no555;R48,no624;iR194,no669).
Saint-Petersbourg-1912-588a, Maison dans les arbres, lent by Vollard =???
Saint-Petersbourg-1912-588b, Paysage (Automne), lent by Vollard.
=? 1885ca (1878-83), V301=FWN198, Paysage d’automne (‘Pilon du Roi’), ?cm, Barnes (R189,no301;R48,no305;iR194,no198;M25)
Saint-Petersbourg-1912-588c, Paysage – Vue d’Anvers (sic), lent by Vollard =???
Saint-Petersbourg-1912-588d, La Maison blanche, lent by Vollard.
=? 1875-76, V163=FWN95, Paysage provençal, au toit rouge (Pine forest, L’Estaque), 72×58, MN Paris (R189,no163;R48,no160;iR194,no95) Provenance: Walter-Guillaume.
=2SdA-1904-SPC-8, La maison blanche (loan by Vollard).
Saint-Petersbourg-1912-588e, L’Estaque (Paysage au bord de la mer), lent by Vollard.
=1883-85 (1898-1900), V770=FWN194, Rochers, pins et mer à l’Estaque, 97×78, xx (R189,no770;R48,no703;iR194,no194)
Saint-Petersbourg-1912-588f, Portrait de l’artiste, lent by Vollard =???
Saint-Petersbourg-1912-588g, Portrait de femme, lent by Vollard =???
Saint-Petersbourg-1912-588h, La Montagne, lent by Vollard =???
Saint-Petersbourg-1912-588i?, ?, lent by Vollard.
Saint-Petersbourg-1912-588j?, ?, lent by Vollard.
Saint-Petersbourg-1912-588k, La ferme, lent by Vollard =???
Saint-Petersbourg-1912-588l, Lisière de bois, lent by Vollard =???
Saint-Petersbourg-1912-588m, Sucrier et poires, lent by Vollard.
=1890-94, V624=FWN852, Sucrier, poires et tapis, 51×62, Mcllhenny Philadelphia (R189,no624;R48,no783;iR194,no852)
Saint-Petersbourg-1912-588n, Sous-bois, lent by Vollard =???
Saint-Petersbourg-1912-588o, Paysage (esquisse), lent by Vollard =???
Saint-Petersbourg-1912-589, Homme assis, lent by Vollard.
=1899ca (1895-1900), V689=FWN528, L’Homme aux bras croisés, 92×73, Guggenheim New York (R189,no689;R48,no598;iR194,no528;M228)
=2SdA-1904-SPC-10, Portrait d’homme (loan by Vollard).
Saint-Petersbourg-1912-590, Anvers la Route (sic), lent by Vollard. =???
Saint-Petersbourg-1912-591, Portrait de l᾿artiste, lent by Theo Behrens.
=1877ca, V290=FWN449, Portrait de l’artiste, 61×46, Philips Washington (R189,no290;R48,no242;iR194,no449;M29)
=2SdA-1904-SPC-6, Portrait de l’auteur par lui-même, nu-tête (loan by Vollard).
Saint-Petersbourg-1912-591+hc, ?.
=1894ca (1888ca), V631=FWN288, Le pont sur la Marne à Créteil, 71×90, Puskin Moscow (R189,no631;R48,no736;iR194,no288;M96).

1913, Budapest:
Ernst Museum, Budapest, Hungary, [The Great French Masters of the XIXth Century], Autumn 1913. (iR194)

Budapest-XIX-1913-73, Landscape, lent by Eissler.
=1879ca (1875-76), V165=FWN136, Village derrière des arbres, Île-de-France, 65×48, xx (R189,no136;R48,no161;iR194,no136)
=Vienna-1912-24, Landschaft, lent by Vollard
Budapest-XIX-1913-76, Still life, lent by Kohner.
=5SdA-1907-8, Le pendule (à Pellerin)
=1867-70, V69=FWN708, La pendule noir, 54×73, private Niarchos Paris (R189,no69;R48,no126;iR194,no708)

1914, Dresden:
Galerie Ernst Arnold, Dresden, Germany, Französische Malerei des XIX. Jahrhunderts, April–May 1914. (iR194)

Dresden-XIX-1914-1, Waldweg, lent by E. Bienert, Dresden.
=1892ca (1890-94), V647=FWN289, Sous-bois (Fontainebleau?), ?cm, xx (R189,no647;R48,no681;iR194,no289)
Dresden-XIX-1914-2, Park Allee, lent by Hugo Cassirer, Berlin.
=1888, V627=FWN244, L’Allée à Chantilly, 81×65, MA Toledo (Ohio) (R189,no627;R48,no665;iR194,no244)
Dresden-XIX-1914-3, Hügellandschaft, lent by Frau Adele Wolde.
=1890-92 (1885-87), V450=FWN276, La Plaine de Bellevue; les terres rouges, 81×100, Barnes (R189,no450;R48,no352;iR194,no276;M25)
Dresden-XIX-1914-4, Der Fuhrmann, lent by Paul Cassirer, Berlin.
=1897ca, FWN524, Paysan en blouse bleue,
Compare: 1890-94, V565, Portrait of a worker, sitting, 55×46, xx (R48,no577)
Dresden-XIX-1914-5, Stillleben, lent by Hugo Cassirer.
=???
Dresden-XIX-1914-6, Kastanienwäldchen, lent by Bernheim-Jeune.
=1885-87ca, V466=FWN199, Prairie et ferme du Jas de Bouffan, 65×81, NGC Ottawa (R189,no466;R48,no362;iR194,no199;M113)
Dresden-XIX-1914-7, Fruchtschale, lent by Bernheim-Jeune.
=1878-79 (1873-74), V194=FWN752, Saladier avec fruits, 25×39, xx (R189,no194;R48,no184;iR194,no752)
Dresden-XIX-1914-8, Der Mord, lent by Vollard.
=1867-70ca, V121=FWN613, Le Meurtre, 64×81, xx (R189,no121;R48,no28;iR194,no613)
Dresden-XIX-1914-9, Der Maler, lent by Bernheim-Jeune.
=1872-75ca, V237=FWN631, Un peintre au travail (Justin Gabet?), ?cm, Müller Solothurn (R189,no237;R48,no256;iR194,no631)
Dresden-XIX-1914-10, Männerkopf.
=? 1865 (1869ca), V110=FWN396, Tête d’homme, 41×33, xx (R189,no110;R48,no75;iR194,no396)
Dresden-XIX-1914-109?, Die Hütte.
=1900ca, FWN1449, Le Pistachier dans la cour de Château Noir I,
Dresden-XIX-1914-110, Totenkopf.
=1902-04, FWN1985, Étude de crâne,
Dresden-XIX-1914-111, Frau mit Pelerine.
=1890-95, FWN1757, Femme à la mante.
Dresden-XIX-1914-112, Baumstudie.
=???
Dresden-XIX-1914-113?, Häuser.
=? 1885-87, FWN1172, Toits d’une ferme.
Dresden-XIX-1914-115, Die Lektüre.
=1885ca, FWN1876, Garçon lisant.
Dresden-XIX-1914-116?, Sitzendes Mädchen.
=? 1896, FWN1770, L’Enfant au chapeau de paille.
Dresden-XIX-1914-117, Kastanienbaum.
=1890ca, FWN1189, Étude d’arbre (Le grand pin).

1914, Copenhagen:
Statens Museum for Kunst, Copenhagen, Denmark, Fransk Malerkunst fra det 19nde Aarhundrede [French Art of the Nineteenth Century], May 15–June 30, 1914 (iR194)

Copenhagen-XIX-1914-18, Nature morte, lent by Kgl. Malerisamling Köbenhavn.
=1879-80 (1873-77), V219=FWN767, Boîte à lait et citron I, 19×30, xx (R189,no219;R48,no198;iR194,no767)
=Copenhagen-FI-1911-2?, ?
Copenhagen-XIX-1914-19, Nature morte, lent by P. Gallimard.
=1877ca (1873-77), V186=FWN736, Tasse, verre et fruits,42×55, xx (R189,no186;R48,no186;iR194,no736)
Copenhagen-XIX-1914-20, Amor i Gips, lent by Bernheim-Jeune.
=1895ca, V706=FWN692, Nature morte avec l’Amour en plâtre, 71×57, Home House Trustees London (R189,no538;R48,no539;iR194,no957)
Copenhagen-XIX-1914-21, Badende Kvinder (Les Ondines), lent by Bernheim-Jeune.
=1887ca (1883-85), V538=FWN957, Six baigneuses (Les Odines; waternimfs), 35×44, xx (R189,no538;R48,no539;iR194,no957)
Copenhagen-XIX-1914-22, Landskab (Paysage), lent by Vollard.
=1885-87ca, V481=FWN220, Arbres et maisons au lieu (La Durane), 60×81, Ng Oslo (R189,no481;R48,no401;iR194,no220;M92)
Copenhagen-XIX-1914-23, Landskab fra Omegnen af Aix, “Jas de Bouffon” (sic), lent by Vollard.
=1879ca, FWN141, Paysage près de Melun,
Compare: 1879-82, V323, Hill with trees and houses, 45×53, xx (R48,no329)
Copenhagen-XIX-1914-24, Siddende mand, lent by Vollard.
=1898-1900, V697, FWN530, Homme assis, 100×73, Ng Oslo (R189,no697;R48,no607;iR194,no530;M92)
Copenhagen-XIX-1914-230, Staande nögen Mand (Homme nu debout), lent by Théodore Duret.
=???, drawing
Copenhagen-XIX-1914-231, Selvportraet (Portrait de l’artiste), lent by Eugen Blot.
=1878, FWN1739, Autoportrait, drawing.
Copenhagen-XIX-1914-232, Vejen (La route), lent by Eugen Blot.
=? 1900-06, FWN1471, Route tournante près d’Aix, drawing.
Copenhagen-XIX-1914-233, Montagne Sainte-Victoire, lent by Eugen Blot.
=1885-87ca, V1021=FWN1169, Mont Sainte-Victoire (recto and verso), wc+dr, 31×48 Harvard Cambridge (M32;R189,no1021;iR194,no1169).

1915, Basel:
Kunsthalle, Basel, Switzerland, Französische Klassiker des 19. Jahrhunderts, May 2–30, 1915 (iR194)

Basel-XIX-1915-58, Les deux soeurs.
=1870-71, V120, FWN607, La conversation, 92×73, xx (R189,no120;R48,no41;iR194,no607)
Basel-XIX-1915-59, Maison dans les abres.
=1877ca, FWN108, Rue de Fond-de-l’Hermitage, quartier de l’Hermitage, Pontoise, (iR194,no108)
Compare (reverse): 1873-75, V143, 60×73, xx (R48,no152)
=2SdA-1904-SPC-33+1, =?
Basel-XIX-1915-60, Le Bassin.
=???, painting.
Basel-XIX-1915-61, L’Estaque.
=???, watercolour.
Basel-XIX-1915-62, L’Estaque.
=???, watercolour.
Basel-XIX-1915-63, Chemin bifurqué.
=???, watercolour.
Basel-XIX-1915-64, Trons blancs.
=? 1882-84, FWN1119, Sous-bois,
Basel-XIX-1915-65, Arbres dans la montagne.
=???, watercolour.
Basel-XIX-1915-66, Verdure.
=???, watercolour.
Basel-XIX-1915-67, Futaie d’arbres.
=? 1880-85, FWN1094, La Futaie,
Basel-XIX-1915-68, Les roches.
=???, watercolour.
Basel-XIX-1915-69, Arbres parmi les rocs.
=? 1895-1900, FWN1385, Profil de rocher près des grottes au-dessus de Château Noir,
Basel-XIX-1915-70, Les Barques.
=???, watercolour.
Basel-XIX-1915-71, Arbres dans un ravin.
=???, watercolour.
Basel-XIX-1915-72, La feuillée.
=? 1890ca, FWN1282, La feuillée,
Basel-XIX-1915-73, Maison et arbres.
=? 1900ca, FWN1426, Arbres et maisons,
Basel-XIX-1915-74, Nature morte.
=???, watercolour.
Basel-XIX-1915-75, L’escarpement.
=? 1887-90, FWN1232, Rochers à Bibémus,
Basel-XIX-1915-76, Les pignons.
=? 1888-90, FWN1260, Toits et arbre,
Basel-XIX-1915-77, Arbres au flanc d’un mont.
=???, watercolour.

1917, Paris, Paul Rosenberg:
Paul Rosenberg, Paris, Art français du XIXe siècle au profit de l’Association Générale des mutilés de la guerre, June 25–July 13, 1917. (iR194)

PR-XIX-1917-4, Les baigneurs, lent by Sevadjian.
=1890ca, FWN948, Baigneurs, (iR194,no948)
Compare: R48,no552=V390=FWN936 and R48,no646=V590
=PR-XIX-1919-?9,
PR-XIX-1917-5, Corbeille de pommes, lent by Hessel.
=1893ca (1890-94), V600=FWN860, La corbeille de pommes, 65×81, AI Chicago (R189,no600;R48,no779;iR194,no860;M20)
=PR-XIX-1919-?6,
PR-XIX-1917-6, ? lent by Hessel.
=1877-79 (1882-85), V398=FWN118, La Baie de Marseille avec vue sur le village Saint-Henri près de l’Estaque, 67×83, xx (R189,no398;R48,no414;iR194,no118)
PR-XIX-1917-7, ? lent by Hessel.
=188ca (1873-77, V218=FWN789, Fleurs dans un pot d’olives, 46×34, MA Philadelphia (R189,no218;R48,no220;iR194,no789;M28)
=PR-XIX-1919-?5,
PR-XIX-1917-8, Portrait de l’artiste par lui-même lent by Hessel.
=1883-84, FWN471, Portrait de l’artiste regardent par-dessus l’épaule, (iR194,no471)
=PR-XIX-1919-?2,
PR-XIX-1917-9, Le Baigneur lent by Rosenberg.
=1885-87ca, V548=FWN915, Grand baigneur, 126×96, MoMA New York (R189,no548;R48,no560;iR194,no915;M41)
=PR-XIX-1919-?7,
PR-XIX-1917-10, Arlequin lent by Rosenberg.
=1888-90, S-, V563=FWN670, Arlequin, 92×65, xx (R189,no563;R48,no622;iR194,no670)
=5SdA-1907-38, L’Arlequin (à Gangnat)
=PR-XIX-1919-?4,
PR-XIX-1917-11, Le Jas de Bouffan lent by Rosenberg.
=1885-87, V475=FWN213, Les grands arbres au Jas de Bouffan, 65×81, Home House Trustees London (R189,no475;R48,no395;iR194,no213)

1918, Geneva:
Musée d’Art et d’Histoire, Geneva, Exposition d’art français: tableaux, dessins et sculptures de l’école française du XIXe siècle, May 15–June 16, 1918 (exhibition catalogue, introduction by Gustave Geffroy). (iR194)

Geneva-XIX-1918-7, La route à Auvers. =???
Geneva-XIX-1918-8, Cour de village (Auvers)
=1879-82ca, V326=FWN129, Cour de ferme, 63×52, Orsay (R189,no326;R48,no331;iR194,no129;M1)
Geneva-XIX-1918-9, Paysage du Midi =???
Geneva-XIX-1918-10, Baigneuses.
=1895ca, FWN960, Groupe de baigneuses,
Geneva-XIX-1918-11, Nature morte =???
Geneva-XIX-1918-12, Nature morte. =???

1919, Paris, Paul Rosenberg:
Paul Rosenberg, Paris, L’art français au XIXe siècle, 1919. (iR194)

PR-XIX-1919-?1,
=1885-87ca, V463=FWN239, Marronniers et ferme du Jas de Bouffan, 65×81, RISD Providence (R189,no463;R48,no357;iR194,no239;M152)
PR-XIX-1919-?2,
=1883-84, FWN471, Portrait de l’artiste regardent par-dessus l’épaule, (iR194,no471)
=PR-XIX-1917-8, Portrait de l’artiste par lui-même lent by Hessel.
PR-XIX-1919-?3,
=1880ca (1886-90?), V550=FWN660, Léda au cygne, 60×73, Barnes (R189,no550;R48,no541;iR194,no660;M25)
=5SdA-1907-11, Leda (à Pellerin)
PR-XIX-1919-?4,
=1888-90, S-, V563=FWN670, Arlequin, 92×65, xx (R189,no563;R48,no622;iR194,no670)
=5SdA-1907-38, L’Arlequin (à Gangnat)
=PR-XIX-1917-10, Arlequin lent by Rosenberg.
PR-XIX-1919-?5,
=188ca (1873-77, V218=FWN789, Fleurs dans un pot d’olives, 46×34, MA Philadelphia (R189,no218;R48,no220;iR194,no789;M28)
=PR-XIX-1917-7, ? lent by Hessel.
PR-XIX-1919-?6,
=1893ca (1890-94), V600=FWN860, La corbeille de pommes, 65×81, AI Chicago (R189,no600;R48,no779;iR194,no860;M20)
=PR-XIX-1917-5, Corbeille de pommes, lent by Hessel.
PR-XIX-1919-?7,
=PR-XIX-1917-9, Le Baigneur lent by Rosenberg.
=1885-87ca, V548=FWN915, Grand baigneur, 126×96, MoMA New York (R189,no548;R48,no560;iR194,no915;M41)
PR-XIX-1919-?8,
=1876-77 (1879-82), V381=FWN923, Trois baigneuses, 58×55, PP Paris (R189,no381;R48,no543;iR194,no923;M4) Provenance: Henri Matisse.
=2SdA-1904-SPC-28, Baigneuses (loan by Vollard for Matisse).
PR-XIX-1919-?9,
=PR-XIX-1917-4, Les baigneurs, lent by Sevadjian.
=1890ca, FWN948, Baigneurs, (iR194,no948)
Compare: R48,no552=V390=FWN936 and R48,no646=V590

Cézanne at La Libre Esthétique in Brussels:
Posthumous there were works of Cézanne exhibited at La Libre Esthétique in 1904 and 1913.

LE-1901-103, Nature morte (lent by Vollard)?
Not identified (iR194).

Suggestions for 1904 see iR194.

11LE-EPI-1904-13, Nature morte; fruits, lent by Georges Viau.
=1879-82, V341=FWN780, Sbl, Still life with fruit bowl, 46×55, MoMa New York (iR10;M41;iR493;iR261;iR194,no780;R231-1;R48,no452;R189,no341)
=EU-1900-C-86, Nature morte: fruits (appartient à M. Viau); see↑.
11LE-EPI-1904-14, La baie de Marseille, lent by Baron Cochin.
=Posen-FI-1906-?, Dorf am Meer.
=Prague-FI-1907-56, ?
=20LE-1913-50, L’Estaque.
=1882-85, V406=FWN193, Vue sur l’Estaque et le château d’If (View through the trees), 73×60, private London (R189,no406;R48,no417;iR194,no188)
11LE-EPI-1904-15, Nature morte, lent by Paul Gallimard.
=1877ca (1873-77), V187=FWN736, Tasse, verre et fruits, 33×46, xx (R189,no187;R48,no187;iR194,no736)
11LE-EPI-1904-16, Idylle antique, lent by Maurice Fabre =???
11LE-EPI-1904-17, La Fontaine, lent by Baron Cochin.
=? 1885-86 (1888-90), V648=FWN215, Bassin et lavoir du Jas de Bouffan, 65×81, xx (R189,no648;R48,no670;iR194,no215).
=17SdI-1901-155, Paysage.
11LE-EPI-1904-18,Rue de village, lent by Paul Gallimard.
=1881ca (1879-82), V334=FWN174, Maisons et sapins, 58×68, xx (R189,no334;R48,no412;iR194,no174)
11LE-EPI-1904-19, Assiette de fruits, lent by Maurice Fabre =???
11LE-EPI-1904-20, Vallée du Rhône, lent by Baron Cochin.
=? 1879ca (1886-90), V490=FWN124, Montagnes en Provence (Marseilleveyre vu de l’Estaque) (Hills and mountains in the Provence; afternoon near L’Estaque), 54×73, xx (R189,no490;R48,no370;iR194,no124). Provenance: Gauguin; ?1891 Brandes.
=Copenhagen-SFI-1889-?1, loan Gauguin.
11LE-EPI-1904-21, Pêches, lent by Mlle Dieterle.
=? 1890ca, FWN816, Fruits et feuillages,
Compare: 1890-94, V613, Still life with fruit and foliage, 29×29, xx (R48,no823); provenance: Matisse.

La Libre Esthétique, Brussels, Interprétations du Midi, March 8–April 13, 1913 (iR194)

20LE-1913-50, L’Estaque.
=11LE-EPI-1904-14, La baie de Marseille, lent by Baron Cochin.
=Posen-FI-1906-?, Dorf am Meer.
=Prague-FI-1907-56, ?
=1882-85, V406=FWN193, Vue sur l’Estaque et le château d’If (View through the trees), 73×60, private London (R189,no406;R48,no417;iR194,no188)
20LE-1913-51, Arbres parmi les rocs, aquarelle
=1895-1900, FWN1385, Profil de rocher près des grottes au-dessus de Château Noir,
20LE-1913-52, La maison sur la colline, aquarelle
=1895-1900, FWN1373, Maison sur une colline aux environs d’Aix,
20LE-1913-53, Femme à la mante, aquarelle
=1890-95, FWN1757, Femme à la mante,

Cézanne at international (“Impressionist”) expositions:

1889-Copenhagen:
Kunstforeningen (Copenhagen Art Society), Copenhagen, Denmark, Nordiske og Franske Impressionister [Scandinavian and French Impressionists], October 30–November 11, 1889. Copenhagen 1889. See FWN (=iR194). 4 pictures of Cézanne were shown, including FWN124 +130 +, all 3 lent by Gauguin.

Copenhagen-SFI-1889-?1, loan Gauguin.
=1879ca (1886-90), V490=FWN124, Montagnes en Provence (Marseilleveyre vu de l’Estaque) (Hills and mountains in the Provence; afternoon near L’Estaque), 54×73, xx (R189,no490;R48,no370;iR194,no124). Provenance: Gauguin; ?1891 Brandes.
=11LE-EPI-1904-20, Vallée du Rhône, lent by Baron Cochin.
Copenhagen-SFI-1889-?2, loan Gauguin.
=1879ca, FWN130, L’Allée.
=Copenhagen-FI-1911-1?, ?
Compare R48,no664-666, 1888, Lane near Chantilly and no.669, 1888-90, Chestnut lane on Jas de Bouffan. And no.695 +723.
Copenhagen-SFI-1889-?3, loan Gauguin.
=1879-81ca, V325=FWN149, Le château de Médan (the house of Zola), 59×72, AGM Glasgow (R189,no325;R48,no315;iR194,no325;M186). Provenance: Gauguin.
Copenhagen-SFI-1889-?4.
=???

1903, Vienna:
Secession, Vienna, Entwicklung des Impressionismus in Malerei u. Plastik: XVI. Ausstellung der Vereinigung bildender Künstler Österreichs, Secession, January–February 1903 (iR194)

Vienna-EdI-1903-58, Landschaft, Motif aus Pontoise (Viau)
=1875-77, S-, V172=FWN100, Le Clos des Mathurins à Pontoise (L’Hermitage), 58×71, Puskin Moscow? (R189,no172;R48,no173;iR194,no100;M96)
Vienna-EdI-1903-59, Portrait des Herrn Chocquet (Durand-Ruel)
=1877 (1879-82ca), V373=FWN439, Portrait of Victor Chocquet, seated, 46×38, Columbus MA (iR2;iR194,no439;R48,no501;R34,p35;R163,p60;R189,no373;M156) Expos:
=2SdA-1904-SPC-23, Portrait de M. Chocquet (à MM. Durand-Ruel et fils);
=London-GG-1905-42, Portrait of M. Chocquet (1879), lent by Galerie Durand-Ruel.
Vienna-EdI-1903-60, Stilleben (Durand-Ruel)
=???
Vienna-EdI-1903-61, Pierrot und Harlekin (Durand-Ruel)
=2SdA-1904-SPC-19, Le mardi gras (loan by Durand-Ruel).
=1888ca, S-, V552=FWN668, Mardi gras, 100×81, Puskin Moscow? (R189,no552;R48,no621;iR194,no668;M96) Provenance: Chocquet.
Vienna-EdI-1903-62, Stilleben (Viau)
=1879-82, V341=FWN780, Still life with fruit bowl (Nature morte au compotier), 46×55, MoMa New York (iR10;M41;iR493;iR261;R231-1;R189,no341;R48,no452;iR194,no780)
=EU-1900-C-86, Nature morte: fruits (appartient à M. Viau)↑;
Vienna-EdI-1903-63, Skizze (Valloton)
=1878ca (1879-82ca), S-, V378=FWN654, La Barque, le départ sur l’eau (L’embarquement de Dante), xx (R189,no378;R48,no536/7;iR194,no654)
Vienna-EdI-1903-64, Vase mit Blumen (Durand-Ruel)
=? 1877ca, V181=FWN733, Le Vase de fleurs sur tapis fleuri, 61×50, xx (R189,no181;R48,no217;iR194,no733).

1903, Paris, Bernheim-Jeune:
Galerie Bernheim-Jeune, Paris, Exposition d’œuvres de l’école impressionniste, April 2–25, 1903

Paris-BJ-EEI-1903-9, La bibliothèque (à Gustave Geffroy)
=5SdA-1907-16, Portrait de Gustave Geffroy (à Pellerin)
=1895 (or 1896), S-, V692=FWN516, Portrait de Gustave Geffroy, 116×89, xx (R189,no692;R48,no589;iR194,no516).

Paris-BJ-EEI-1903-10, La maison de Cézanne (à Gustave Geffroy)
=1885-87ca, V467=FWN202, Marronniers et ferme du Jas de Bouffan, 65×81, xx (R189,no467;R48,no393;iR194,no202).

Paris-BJ-EEI-1903-11, Nature morte (à MM. B.-J.)
=??? Provenance: Bernheim-Jeune?

1904, Dresden:
Kunstsalon Emil Richter, Dresden, Germany, Sonderausstellung franzosischer Impressionisten, November 10, 1904. Included Manet, Monet, Sisley, Renoir, Pissarro, Jongkind, Cézanne, Degas and Lebourg. Help from Schmitz, Rothermundt, Tschudi and Cassirer. (iR194)

Dresden-FI-1904-52, In der Umgebung von Marseilles.
=1882-85, S-, V407=FWN188, Vue sur l’Estaque (Surroundings of Marseilles), 60×73, xx (R189,no407;R48,no418;iR194,no188).
Dresden-FI-1904-53, Hafenarbeit.
=???
Dresden-FI-1904-54, Landschaft.
=???
Dresden-FI-1904-55, Stillleben.
=???

1905, London, Grafton Galleries:
Grafton Galleries, London, Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, January 16-February 18, 1905; extended until February 25. An exhibition of 315 works organized by Durand-Ruel. (iR194) Note: the dates of the given suggestions, mostly don’t fit the dates rendered in the catalogue. As Cézanne almost didn’t date his paintings, these catalogue indications are maybe wrong.

London-GG-1905-39, Dessert (1878).
=1877-79 (1873-77), V197=FWN745, The desert (Still life with bottle glass fruit and dessert), 59×73, Philadelphia MA (iR10;iR94;iR6;iR59;iR194,no745;R189,no197;R90II,p87;R2,p194;R48,no196;M28)
Option for: 3IE-1877-18, Nature morte.
London-GG-1905-40, The road (1872), lent by Galerie Durand-Ruel.
=1875-76, V158=FWN102, (La Route) Le mur d’enceinte, 50×65, private (iR59;iR194,no102;R189,no158;R90II,p70+87;R2,p203;R48,no159)
=!? 3IE-1877-22, Paysage; Étude d’après nature.
London-GG-1905-41, Cottages at Auvers (1881), lent by Galerie Durand-Ruel.
=2SdA-1904-SPC-22, Les petites maisons d’Auvergne (loan by Durand-Ruel).
=1873-74, V156=FWN82, Petites maisons à Pontoise, près d’Auvers-sur-Oise, 40×54, FAM Cambridge (R189,no156;R48,no147;iR194,no82;M32)
London-GG-1905-42, Portrait of M. Chocquet (1879), lent by Galerie Durand-Ruel.
=1877 (1879-82ca), V373=FWN439, Portrait of Victor Chocquet, seated, 46×38, Columbus MA (iR2;iR194,no439;R48,no501;R34,p35;R163,p60;R189,no373;M156)
=Vienna-EdI-1903-59, Portrait des Herrn Chocquet (Durand-Ruel);
=2SdA-1904-SPC-23, Portrait de M. Chocquet (à MM. Durand-Ruel et fils);
London-GG-1905-43, Apples and Cakes (1877).
=1877-79 (1873-77), V196=FWN744, Pommes et gâteaux, 46×55, xx (R189,no126;R48,no65;iR194,no399)
=2SdA-1904-SPC-20, Nature morte (loan by Durand-Ruel).
Option for: 3IE-1877-17, Nature morte.
London-GG-1905-44, In the woods (1883), lent by Galerie Durand-Ruel.
=1875-77, V173=FWN107, La Côte des Boeufs (Saint-Denis), Pontoise, 65×54, private (iR2;iR194,no107;R189,no173;R90II,p88+71;R2,p203;R48,no176)
=? 3IE-1877-25, Paysage; Étude d’après nature.
London-GG-1905-45, Apples (1877)
=2SdA-1904-SPC-21, Nature morte (loan by Durand-Ruel).
=1877ca (1873-77), V207=FWN742, Dish of Apples (Le plat de pommes), 46×55, Metropolitan (iR2;iR59;iR194,no742;R189,no207;R90II,p87;R2,p203;R48,no206)
Option for: 3IE-1877-19, Nature morte.
London-GG-1905-46, Flowers and fruit (1880).
=1890ca (1890-94ca), V617=FWN826, Le vase de tulipes, 60×42, AI Chicago (R189,no617;R48,no824;iR194,no826;M20)
London-GG-1905-47, A meadow (1882), lent by Galerie Durand-Ruel.
=1882 (1885-86), V442=FWN180, Le verger (Hattenville), 61×50, xx (R189,no442;R48,no385;iR194,no180)
London-GG-1905-48, Flowers in a vase (1880).
=(?) 1874 (1873-77), V181=FWN733, Le vase de fleurs sur un tapis fleuri (Vase of flowers on a flower rug), 61×50, private (iR10;iR247;iR194,no733;R189,no181;R48,no217;R90II,p87;R2,p203)
=Vienna-1903-64
Option for: 3IE-1877-21, Étude de fleurs.

1906, Posen (Poznan):
Kaiser Friedrich-Museum, Posen, Poland, [Französische Impressionisten], Beginning of May 1906.

Posen-FI-1906-?, Dorf am Meer.
=1882-85, V406=FWN193, Vue sur l’Estaque et le château d’If (View through the trees), 73×60, private London (R189,no406;R48,no417;iR194,no188)
=11LE-EPI-1904-14, La baie de Marseille, lent by Baron Cochin.
Prague-FI-1907-56, ?
=20LE-1913-50, L’Estaque.

1907, Prague:
S.V.U. Mánes, Pavillon Mánes, Prague, Francouzští impressionisté [French Impressionists], September 27–November 30, 1907 (Twenty-third exhibition of the Mánes Association of Artists). (iR194)

Prague-FI-1907-53, ?
=1866, V126=FWN399, Portrait d’Antony Valabrèque, 116×98, Wildenstein NY (R189,no126;R48,no65;iR194,no399)

Prague-FI-1907-54, ? (Vollard)
=1865, FWN704, Le pain et les oeufs, 59×76, AM Cincinnati (R189-/-;R48,no119;iR194,no704;M166)
=Berlin-PC-I-1925-1, Das Brot.

Prague-FI-1907-55, ?
=? 1890-94, S-, V598=FWN855, Nature morte avec pommes, ?cm, xx (R189,no598;R48,no792;iR194,no855). Compare R48,no470.

Prague-FI-1907-56, ?
=? 1882-85, V406=FWN193, Vue sur l’Estaque et le château d’If (View through the trees), 73×60, private London (R189,no406;R48,no417;iR194,no188)
=11LE-EPI-1904-14, La baie de Marseille, lent by Baron Cochin.
=Posen-FI-1906-?, Dorf am Meer.
=20LE-1913-50, L’Estaque.

1908, Zurich:
Künstlerhaus Zürich, Zurich, Französische Impressionisten, October 1–November 1, 1908 (iR194). None of the works are identified.

Zurich-FI-1908-2, Stilleben (Durand-Ruel) =???
Zurich-FI-1908-3, Landschaft (Durand-Ruel) =???
Zurich-FI-1908-4, Orpheus (early sketch, drawing?) (private) =???

1910, Budapest:
Müvészház, Budapest, Hungary, Nemzetközi Impresszionista Kiállítás, April–May 1910. (iR194)

Budapest-NIK-1910-15, Still life, lent by Marcel Nemes.
=1879-82, V341=FWN780, Sbl, Still life with fruit bowl, 46×55, MoMa New York (iR10;M41;iR493;iR261;iR194,no780;R231-1;R48,no452;R189,no341)
Provenance: Viau; sale DR1907/03/02-04, no.13.
Expos: EU-1900-C-86, Nature morte: fruits (appartient à M. Viau); Vienna-EdI-1903-62; 11LE-EPI-1904-13;
Budapest-NIK-1910-16, Italian boy, lent by Marcel Nemes.
1888-90 (1890-95), V681=FWN496, Le garçon au gilet rouge, 80×64, Bührle Zurich (R189,no681;R48,no580;iR194,no496;M85).

1910, Florence:
Lyceum Club, Florence, Italy, Prima Mostra italiana dell’impressionismo, April 20–May 15, 1910. No. 5 is a lithograph and Nos. 6–11 are photographs (iR194)

Florence-PMII-1910-1, Ritratto d’uomo (Vollard) =???
Florence-PMII-1910-2, Due signare e bambina (Vollard)
=? 1870ca (1860-62ca), S-, V24=FWN606, Femmes et fillette dans un intérieur, 92×57, Pushkin Moscow? (R189,no24;R48,no14;iR194,no606;M96).
=5SdA-1907-56+hc2, Femmes à la crinoline.
Florence-PMII-1910-3, Paesaggio (Vollard) =???
Florence-PMII-1910-4, Paesaggio (E. Fabbri) =???

1911, Copenhagen:
Kunstforeningen, Copenhagen, Denmark, Franske Impressionister i dansk Eje [French Impressionists in Danish Collections], April 9–May 7, 1911. (iR194)

Copenhagen-FI-1911-1?, ?
=1879ca, FWN130, L’Allée.
=Copenhagen-SFI-1889-?2, loan Gauguin.
Compare R48,no664-666, 1888, Lane near Chantilly and no.669, 1888-90, Chestnut lane on Jas de Bouffan. And no.695 +723.
Copenhagen-FI-1911-2?, ?
= 1879-80 (1873-77), S-, V219=FWN767, Boîte à lait et citron I, 19×30, xx (R189,no219;R48,no198;iR194,no767)
=Copenhagen-XIX-1914-18, Nature morte, lent by Kgl. Malerisamling Köbenhavn.

1912, Vienna:
Galerie Miethke, Dorotheergasse 11, Vienna, Französische Meister, January 19–February 1912. Works by Courbet, Manet, Monet, Renoir and others were also shown in this exhibition. (iR194). Note: less relevant for this website.

Vienna-1912-15, Bildnis seiner Frau, lent by Vollard =???
Vienna-1912-17, Knabenbildnis.
=1867-68, FWN420, Garçon accoudé
Vienna-1912-22, Versuchung des heiligen Antonius, lent by Vollard.
=1870ca, FWN611, La tentation de saint Antoine.
Vienna-1912-24, Landschaft, lent by Vollard
=Budapest-XIX-1913-73, Landscape, lent by Eissler.
=1879ca (1875-76), V165=FWN136, Village derrière des arbres, Île-de-France, 65×48, xx (R189,no136;R48,no161;iR194,no136)

1913, Armory show, USA:
Armory show, 1913; travelling exhibition in New York, Chicago and Boston.
Armory of the Sixty-Ninth Regiment, New York, International Exhibition of Modern Art [Armory Show], February 17–March 15, 1913.
A major exhibition with loans from European dealers and American collectors. (iR194)
The Art Institute of Chicago, Chicago, Armory Show, March 24–April 16, 1913. (iR194)
Copley Society of Boston, Copley Hall, Boston, Armory Show, April 28–May 19, 1913. (iR194)

USA-Armory-1913-NY214=Ch38=B14, Femme au chapelet, lent by Druet.
=1895-96 (1900-04), V702=FWN515, La vieille au chapelet, 85×65, NG London (R189,no702;R48,no612;iR194,no515;M61)
=5SdA-1907-47, Femme au chapelet (à Gangnat)
=10SdA-1912-49, Femme au chapelet, à E. Druet.
USA-Armory-1913-NY215=Ch39=B15, Portrait de Cézanne, lent by Vollard.
=1894 (1890-94), V579=FWN511, Portrait of Cézanne, xx, xx (R189,no579;R48,no575;iR194,no511)
USA-Armory-1913-NY216=Ch40=B16, Baigneuses, lent by Vollard.
=1877-78 (1879-82), V384=FWN938, Baigneuses, 46×38, xx (R189,no384;R48,no544;iR194,no938)
USA-Armory-1913-NY217=?Ch41, Colline des pauvres, lent by Vollard.
=1888-90 (1888-94), V660=FWN260, Colline des pauvres, 63×81, Metropolitan (R189,no660;R48,no676;iR194,no260;M23)
USA-Armory-1913-NY218=Ch42=B17, Auvers (sic), lent by Vollard.
=1881-82 (1879-82), V312=FWN176, La campagne à Pontoise, près du Valhermeil, xx, xx (R189,no312;R48,no402;iR194,no176)
USA-Armory-1913-NY219=Ch43=B18, Portrait, lent by Vollard.
=1870-71ca, V130=FWN427, Portrait de Gustave Boyer (vu de face), xx, xx (R189,no130;R48,no81;iR194,no427)
USA-Armory-1913-NY-220=Ch44=B19, Melun, lent by Vollard.
=1879ca (1878-83), V304=FWN141, Paysage près de Melun (Surroundings of Jas de Bouffan), 60×73, Ng Oslo (R189,no304;R48,no314;iR194,no141;M92)
USA-Armory-1913-NY580=Ch46=B21, Portrait de Madamme Cézanne, lent by John Quinn.
=3SdA-1905-323, Portrait de femme.
=1883-85 (1872-77), V229=FWN466, Madame Cézanne en robe rayée, 55×46, xx (R189,no229;R48,no228;iR194,no466)
USA-Armory-1913-NY1068=Ch47=B22, Flowers, lent by Mrs. Montgomery Sears.
=1880ca, FWN788, Le vase bleu sombre,
USA-Armory-1913-NY1069=Ch48=B23, Harvesters, lent by Prof. John O. Sumner.
=? 1875-78, V1517=FWN659, 25×39, xx (R189,no1517;R48,no275;iR194,no659)
USA-Armory-1913-NY1070=Ch49=B24, Landscape (La route), lent by Lillie P. Bliss.
=1871-72ca, V52=FWN58, La Route, 57×70, MoMA New York (R189,no58;R48,no116;iR194,no58;M41).
USA-Armory-1913-NY1071=Ch50=B25, Portrait de Cézanne, lent by Stephan Bourgeois.
=1885-86 (1883-87), V514=FWN478, Cézanne au chapeau melon, esquisse, 45×36, NCG Copenhagen (R189,no514;R48,no512;iR194,no478;M90).
USA-Armory-1913-NY1072=Ch-51, Portrait of Madame Cézanne, lent by van Horne.
=1885-86, V520=FWN475, Portrait of Mme Cézanne, 46×38, MA Philadelphia (R189,no475;R48,no518;iR194,no475;M28)
USA-Armory-1913-NY1084=Ch45=B20?,
1895-98, FWN1366, Le Puits dans le parc de Château Noir, aquarelle

1913, Vienna:
Galerie Miethke, Vienna, Französische Impressionisten, opening March 1, 1913. (iR194)

Vienna-FI-1913-16, Das alte Schloss.
=1885ca (1884-96), S-, V667=FWN237, Château Noir derrière les arbres, 73×92, Km Winterthur (R189,no468;R48,no363;iR194,no241;M87). Provenance: Oskar Reinhardt.
=Berlin-PC-I-1925-7, Das schwarze Schloss.

Vienna-FI-1913-20, Rotes Haus unter Bäumen.
=1885-90, S-, V468=FWN241, Maison au toit rouge (Jas de Bouffan?), 73×92, xx (R189,no468;R48,no363;iR194,no241)
=Berlin-PC-I-1925-6, Haus mit rotem Dach.

1920, Paris, Bernheim-Jeune:
Galerie Bernheim-Jeune, Paris, Paysages impressionnistes, February 16–March 4, 1920. (iR194)

Paris-BJ-PI-1920-1, ?
=1868-70ca, S-, V47=FWN55, Les Marronniers et le bassin du Jas de Bouffan, 36×44, xx (R189,no47;R48,no110;iR194,no55)

1921, Zurich:
Galerie Bernheim-Jeune Zürich, Zurich, Exhibition of French Impressionists, January 19–February 28, 1921 (iR194)

Zurich-BJ-FI-1921-1, ?, aquarelle
=???

1925, Berlin, Paul Cassirer:
Paul Cassirer, Berlin, Impressionisten, September–October 1925 (iR194)

Berlin-PC-I-1925-1, Das Brot.
=Prague-FI-1907-54, ? (Vollard)
=1865, SD, FWN704, Le pain et les oeufs, 59×76, AM Cincinnati (R189-/-;R48,no119;iR194,no704;M166)

Berlin-PC-I-1925-2, Äpfel.
=1890-94ca, V621=FWN821, Grosses pommes, 46×55, xx (R189,no621;R48,no788;iR194,no821).

Berlin-PC-I-1925-3, Die Dächer.
=1882ca (1874-77), S-, V175=FWN178, Les toits de Paris, 58×72, xx (R189,no175;R48,no171;iR194,no178).

Berlin-PC-I-1925-4, Schale mit Birnen.
1878-79, FWN752, Saladier avec fruits.
Compare R189,no194=R48,no184, 1873-74, Still-life, bowl with apples and pears, 25×39, xx.

Berlin-PC-I-1925-5, L’Estaque.
1882ca (1878-83), S-, V294=FWN157, (Lane in) L’Estaque, 52×64, xx (R189,no294;R48,no308;iR194,no157).

Berlin-PC-I-1925-6, Haus mit rotem Dach.
=1885-90, S-, V468=FWN241, Maison au toit rouge (Jas de Bouffan?), 73×92, xx (R189,no468;R48,no363;iR194,no241)
=Vienna-FI-1913-20, Rotes Haus unter Bäumen.

Berlin-PC-I-1925-7, Das schwarze Schloss.
=1885ca (1884-96), S-, V667=FWN237, Château Noir derrière les arbres, 73×92, Km Winterthur (R189,no468;R48,no363;iR194,no241;M87). Provenance: Oskar Reinhardt.
=Vienna-FI-1913-16, Das alte Schloss.

Berlin-PC-I-1925-8, Der Sommermorgen.
1888, S-, V628=FWN246, L’Allée à Chantilly, 75×63, xx (R189,no628;R48,no666;iR194,no246)

Berlin-PC-I-1925-9, Der Mann mit den untergeschlagenen Armen.
=1899ca (1895-1900), V685=FWN527, L’Homme aux bras croissés, 92×73, Mitchell Annapolis (R189,no685;R48,no599;iR194,no527)

Berlin-PC-I-1925-10, Porträt Madame Cézanne.
=1888-90 (1890-94), S-, V573=FWN491, Madame Cézanne en robe rouge, 89×70, MBA São Paulo (R189,no573;R48,no572;iR194,no491;M115)

Berlin-PC-I-1925-11, Badende.
=? 1875-76, V274=FWN925, Les baigneurs au repos, 38×46, xx (R189,no274;R48,no286;iR194,no925)

Berlin-PC-I-1925-12, Landschaft mit Haus.
=1892-95 (1885-87), V472=FWN293, Paysage des environs d’Aix (La plaine de l’Arc), 81×65, Suydam Cutting New York (R189,no472;R48,no390;iR194,no293)

Recommanded citation: “Impressionism: Paul Cézanne, an account of his exhibited works. Last modified 2025/07/30. https://www.impressionism.nl/cezanne-account/.”