Colin account

 

 

Impressionism, a historical reconstruction:

Gustave-Henri Colin

(1828-1910?)

Account

of his exhibited works

 

Introduction:
On this page you will find an account on the works that Gustave Colin exhibited at the 1st ‘impressionist’ exposition (=1IE-1874) and the Salon (=S), the Salon de la Société des Artistes Français (=SdAF), the Salon de la Société National des Beaux-Arts (=SNBA), at the Exposition Universelle and at regional exhibitions. I will refer to his works that were auctioned in 1882, 1886 and 1909 at Hôtel Drouot (=HD). Most suggestions I make are mostly based just on comparing the titles and sometimes also comparing the date, the sizes and a discription (if known). See link for his an overview of his pictures and for a thematical and topographical overview of the titles of his pictures. For the sources see at the bottom of the main page about Gustave Colin.

 

Overview 1st ‘impressionist’ exposition 1874:

  • catalogue numbers 45-49
  • Colin was mentioned as ‘Colin (Gustave)’
  • so in total Colin showed 5 works, probably all oil paintings
    • 2x an indication of place (quite global)
    • 0x an indication of time, season or weather
    • 0x a study
    • 0x a loan
  • See for the suggestions of Moffett (R2,p120), of Dayez / Adhémar (R87,p235/6) and Berson (R90II,p6/7).
  • See link for an overview of his pictures.

Reviews:
Burty (1874/04/25) ‘The more moderate and no less valiant works of Messrs. Colin, Rouart, Boudin, Lépine, Ottin fils or de Nittis, the watercolours of Mr. Lepic, show how much is to be expected from this school. (R87,p262) 
Castagnary
 (1874/04/29) reviewed: ‘Gustave Colin, whose Pyrenean pages blaze with light and sun;’ (R90I,p16;R87,p236).
Ernest Chesnau (1874/05/07) reviewed: ‘To have invited to participate in this exhibition certain painters who are at the extreme end of the latest banalities of the official Salons, and even artists of undeniable talent, but acting in ways that differ from their own, such as the misters de Nittis, Boudin, Bracquemond, Brandon, Lépine, Gustave Colin, this is a major error of both logic and tactics.’ (R87,p268/9)
Ernest d’Hervilly calls Colin as one of the first members of ‘la société coopérative’ and later remarks ‘M. G. Colin, M. Boudin and M. Z. Astruc, all artists of great value, who brought to the Exhibition of paintings the fine flower of their talent for research and exploration.’ (R87,p256/7).

Overview reviews and suggestions:
Only no.49 is described. Moffett refers to a painting in Arras (M174). The theme of the harbour of Pasajes (in the north-west of Spain) is depicted many times by Colin, so Berson leaves it unidentified, but also refers to pictures in Lille and Pau (M17+M170).
No. 45 + 48 are not reviewed at all.
Of no.46 just the title is mentioned in 2 reviews.
No. 47 is just shortly remarked in a positive way in 1 review.
For all these works there are no suggestions given. Leaves us with the titles and sometimes with a similar title exhibited elswhere. Colin didn’t date many pictures, he often repeated the same themes, there is no Catalogue Raisonné of his works, nor a recent extended (exhibition) catalogue. All this makes identification very hard. So most of my suggestions are very uncertain or just to compare.

Catalogue 1874 (R2,p120;R87,p236;R90I,p5;iR1):

1IE-1874-45, Haurra-Maria
Adhémar, nor Moffett, nor Berson make a suggestion. Berson omits this works, which means there were no reviews (R90II,p6). On the internet there is a letter in the Basque language of Maria de Molleres [court clark: Etchegarayco Haurra Maria] to Bitor & Bernat de Farandiret, see link. It seems to be a name. The Basque language is called Euskara, see link. In this language we see that Matthew 2:11 is translated as: Etxean sarturik, haurra ikusi zuten Maria bere amarekin eta, see link. In this context it seems to mean ‘seeing Maria’, but it could also mean ‘Maria and her child’. Amazon renders a Basque child book called: ‘Daniel eta beste herrialde bateko haurra‘, here it is translated as ‘child’ (iR132). On the website of the cathedral of Vitoria-Gasteiz in the Spanish Basque country, we read about ‘Santa Ana eta Ama Birjina haurra‘, here also it is translated as ‘child’. So probably no.45 was a figure painting, probably depicting Mother Mary and her child Jesus, so a religious painting. I hardly could find figure paintings of Colin. To compare I render: 18xx, Young woman sitting, 82×65, MBA Pau (aR16=M170;iR23;iRx;R2,p120); and also: 18xx, Portrait of a young woman, 46×38, A2016/09/20 (iR11;iR1).

1IE-1874-46, La Maison du Charpentier
Eng.: the house of the carpenter or the house of M. Charpentier. Adhémar, nor Moffett, nor Berson make a suggestion. Berson refers to the reviews of Lepelletier and de Lora (R90II,p6), who just mentions the title (R90I,p24+27). I render two very uncertain suggestions: 18xx, Landscape in Normandy, 26×35, A2009/11/18 (iR13;iR18;iR1); and: 18xx, Landscape with cottage and garden, 47×63, A2012/03/14 (iR13;iR11;iR1). Note: I render these two pictures also as very uncertain options for S1859-666, Une ferme à Saint-Léonard, près de Fécamp (Seine-Inférieure).

1IE-1874-47, L’étang aux poules d’eau
Eng.: The pond with water hens. Adhémar, nor Moffett, nor Berson make a suggestion. Berson refers to the review of Carjat (R90II,p7), who just remarks ‘we like very much’ (R90I,p14). To compare I render: 18xx, Paysage à la mare sous un ciel orageux (Landscape at the pond under a stormy sky), 23×42, A2016/04/24 (iR10;iR12;iR46;R2,p120); in this pond the water hens are absent. And also: 18xx, Sbl, Village en bord de Bidasoa, 28×51, A2021/08/57 (iR17;iR13); not a lake, but the river Bidasoa and depicting geese. To compare I also render a later picture of a lake: 1897, Lake with reflections, 27×35, A2020/06/16 (iR312)

1IE-1874-48, Marchandes de poissons de Fontarabie (Espagne)
Eng. Fish merchants from Fontarabie (Spain). Colin asked 2500fr for this work (R87,p224).
Compare HD1886-18, Marchandes de sardines de Fontarabie, en marche, à la Croix-du-Bouquet; Route de Behobie à Saint-Jean-de-Luz, 85×110. Note: Saint-Jean-de-Luz in France lies 18km north of Fontarabie in Spain, both along the coast of the the Golfe de Gascogne (or: Biskaje) (iR9). Adhémar, nor Moffett, nor Berson make a suggestion. Berson omits this works, which means there were no reviews (R90II,p7). I render two very uncertain suggestions depicting fishermen on the sea: 18xx, Fishing boats in the bay of Saint-Jean-de-Luz, on wood, 27×36, A2001/03/25 (iR13;iRx;aR5) Compare: HD1882-3, Navires en relâche dans la rade de Saint-Jean-de-Luz. Marée descendante. 33×40. And: 18xx, Sbl, Les pêcheurs au large de Fontarabie, 29×34, A2005/06/08 (iR13;iR43;iR10). But maybe a better option is: 1870ca, Bringing home the catch, ?cm, Axx (iR310;iR10), a suggestion I also make for S1870-608, Conchita. This picture depicts several women carrying baskets with fish, probably to be sold on the market.

1IE-1874-49, Entrée du port de Pasages (Espagne)
Eng.: Entrance of the harbour of Pasages (Spain). Earlier exhibited as S1868-554, Entrée du port de Pasages (Espagne) (R88I,p146;R87,p235;iR1). Berson refers to the reviews of Carjat and de Montifaud (R90II,p7), the last one first just mentioning the title and than later on reviewing ‘Below the painting by M. Lépine, the one by Gustave Colin establishes the most vigorous contrast; l’Entrée du port de Pasages – Espagne, where the waves have an indigo colour. What more vivid relief could there be than the dark note of the waters encased between two granite elevations cut harshly under the wide, domed sky. ‘ (R90I,p30;R87,p236). Carjat (1874/04/27) reviewed ‘M. Gustave Colin has frankly brushed the Entrée du port de Pasages. The sky is bright; the sunny rocks have a granitic solidity; the sea alone, although very real, is perhaps not flat enough.’ (R90I,p14).
Adhémar, nor Berson make a suggestion. Moffett suggests with a perhaps a work now in the Musée d’Arras (R2,p120), probably: 1869ca, The passageway of Pasajes, xx, MBA Arras (iR10;iR94;iR1;R2,p120;R88I,p146;M174). Note: in the reviews there are no referrences to the boats that are depicted on this painting and there are no ‘vigorous contrasts’, so this makes it a lesser suggestion. Berson also refers to a painting in Arras.
Berson also refers to paintings in the collections of Pau. There are two options: 18xx, The Pasajes chanel, evening effect, 66×100, MBA Pau (aR16=M170;iR23); the indigos waves or very present, but central in this picture is a rowing boat, which is not mentioned in the reviews, nor the evening effect; there is no ‘vigorous contrast’ and no ‘domed sky’, so I don’t think it’s a good option. The second option is: 1869, Sbl, The castle at the entrance of the harbour of Pasajes, 91×117, MBA Pau (iR23;iR1;R2,P120); note: this work was bought by the MBA of Pau in 1870 (iR23), so I don’t think it is likely did this museum did lend this picture to the 1874 exposition.
Berson explicitly mentions the following work now known as ‘Le Castillo et le Goulet de Pasagès à marée haute’ at the Musée des beaux-arts in Lille, now: 18xx (1880ca), The castle and the narrow entrance the Gulf of Pasajes, High tide, 27×41, MBA Lille (iR4;iR23;iR1;M17). I think the Lille picture fits the reviews best, namely the ‘vigorous contrast’, the ‘granitic solidity’ of the ‘sunny rocks’ and the ‘domed sky’. Some date this work around 1880, if this is true it isn’t an option, but this dating is uncertain.
Berson remarks that ’there are a number of pictures of this subject by Colin’ and ‘There is no evidence to indicate which, if any, was shown.’ So, she leaves the work unidentified (R90II,p7). In the topographical overview of Colin you will find many titles referring to the harbour of Pasajes. There are also several pictures known depicting the harbour / bay / passageway of Pasajes, see overview pictures. But when I compare all these known pictures with the descriptions from the reviews, the Lille picture is the only one that really stands, so I will render it as probably exhibited. This suggestion is confirmed by the fact that it was exhibited before at the Salon of 1868 and it was a variation of the work exhibited in 1869.

 

 

Gustave(-Henri) Colin at the Salon and other exhibitions:
Colin sometimes is called Gustave-Henri and sometimes Gustave Colin (iR1).
Note: there also was an Alexandre-Marie Colin (1798-1873; who had received a second class medal in 1824-31 (for history painting) and in 1840 a first class medal); his son, Paul(-Alfred) Colin (born in Nîmes; a landscapist who painted many marines); Charles-Amédée Colin; Gustave Colin (born in Villars); (Jean-)Paul-Émile Colin (1867-1949; born in Lunéville; a symbolist; acquinted with Gauguin; engraver on wood; see SNBA-1898); Maximilien Colin (born in New York, see SdAF-1888); Louis-Eugène Colin (born in Moutiers (Savoie); see SNBA-1894)  (iR1;R9,p187/8). This distinction is important, because even a well respected source as Sothebys wrongly attributes a work to our Gustave-Henri Colin (see iR14).
Note: his son Charles-Jean, who was born in Saint-Jean-de-Luz and who was teached by his father, Humbert and Gervex, exhibited at the Salon des Artistes Français in 1887+88 (iR1). 

Gustave(-Henri) Colin at the Salon:

S1857-571, Le portrait de l’aïeule
Eng.: The portrait of the grandmother. His debut. I could not find a suggestion.

S1859-665, La sortie de la messe à Gèdre (Hautes-Pyrénées)
Eng.: Leaving mass in Gèdre (Hautes-Pyrénées). Probably: 1859, Village scene (leaving church), 131×105, A2013/04/09 (iR10;iR12;iR13;iR46) .

S1859-666, Une ferme à Saint-Léonard, près de Fécamp (Seine-Inférieure)
Eng.: A farm in Saint-Léonard, near Fécamp (Seine-Inférieure). I render two (very) uncertain options: 18xx, Landscape in Normandy, 26×35, A2009/11/18 (iR13;iR18;iR1); and: 18xx, Landscape with cottage and garden, 47×63, A2012/03/14 (iR13;iR11;iR1); and to compare a litho: 18xx, A farm in Normandy, litho, 14×23, MBA Arras (iR313;M174;iR1).

S1861-662, La famille basque
Eng.: the basque family. I could not find a suggestion.

SdR-1863-hc, Joueurs de Pelote
Eng.: Pelota players. Though Colin was not in the catalogue, several source mention he did exhibit with the Salon des Refusés (iR69;R9;R3;iR4;iR35;iR23;R87,p235;R88I,p146). Hondarrabia writes ‘In 1863 Gustave Colin signed the painting depicting a sequence of a glove game, where we can see the square of the playing area at the foot of the Queen’s Bastion, with at least four “stone” stands full of spectators, where eight players play against each other on a partially paved earthen field without grass, with rows of cobblestones or stone tiles, which seem to delimit the playing area.’ (aR18). According to Joconde now: 1863, A Game of Pelota under the Walls of Hondarribia (Fontarabie), 156×192, MBM Bayonne (iR3;iR4;iR35;iR23). Compare: SNBA-1892-246, Pelotaria basque.

S1867- 352, La barre de la Bidassoa par un gros temps ; marins de Fontarabie allant au secours d’une goëlette en danger
Eng.: The Bidasoa bar in bad weather; Fontarabie sailors rescuing a schooner in danger. Maybe ‘bar’ means a barrier in the river; so probably sailors in bad weather are trying to rescue a small boat. Bidassoa lies in the north of Spain, about 24km east of Fontarabie. Note: bought in 1867 by Musée d’Arras (R88I,p146). Now: 1867ca, La barre de la Bidassoa par gros temps, xx, MdArras (aR18;iR10;aR17;R88I,p146;M174). Compare: 18xx, Embarcation dans la tempête (Boating in a storm), 81×110, A2019/01/24 (iR17;iR10;iR13;iR1;aR8).

S1868-554, Entrée du port de Pasages (Espagne)
Eng.: Entrance of the harbour of Pasages (Spain). Later exhibited as: 1IE-1874-49 (R87,p235;R88I,p146), see overthere.

S1868-555, Une rue à Fontarabie (Espagne)
Eng.: A street in Fontarabie (Spain). Colin depicted several pictures of alleys in Basque villages. I render three suggestions: 18xx, Alley at Fontarabie, 46×38, Gallery Bruxelles (aR4;iR10); and: 18xx, Alley in the Basque country, on panel, 35×26, A2019/12/13 (iR11;aR19;iR1); and: 1860, Street in a south-western village, 53×29, A2008/06/11 (iR11;iR13).

S1869-516, Course de Novillos, sur la place de Pasages, le jour de la fête de Saint-Jacques (provinces basques espagnoles)
Eng.: Novillos race, in the square of Pasages, on the feast day of St James (Spanish Basque provinces). A Novillo is a young bull. Probably now: 1869, Training fight in Biscay, 54×65, MBA Arras (iR94;iR10;iR157;iR114;iR1;M170).

S1869-517, Le castillo à Pasages
Eng.: the castle at Pasages. Probably: 1869, Sbl, The castle at the entrance of the harbour of Pasajes, 91×117, MBA Pau (iR23;iR1;R2,P120); note: this work was bought by the MBA of Pau in 1870. Compare: S1868-554 + 1IE-1874-49, Entrée du port de Pasages (Espagne).

S1870-607, Attelage basque
Eng.: Basque towing coupling / Basque carriage. I render two uncertain suggestions: 18xx, Harvesting scene (castle of Bosnia-L’Aiguille), 72×52, xx (iR116;iR10;aR20;iR1); and: Gustave Colin, 18xx, Attelage basque à Ciboure, xx, A2006/11/26 (iR10;iR46;iR1).

S1870-608, Conchita
A Spanish name for a girl. So this must be a figure painting / portrait. Maybe?: 1870ca, Bringing home the catch, ?cm, Axx (iR310;iR10). Compare 1IE-1874-48, Fontarabie (Espagne)

S1873-324, La récolte du maïs à Urunaga (Basses-Pyrénées) (Appartient à M. Mignon)
Eng.: the harvest of the sweetcorn at Urunage (lower-Pyrenees). Claretie reviewed ‘a landscape, of a raw, violent, bizarre colour, that this Harvest of corn where these peasants and these peasant women of the Low Pyrenees work in the field of Spanish wheat, picking what one calls, in Périgord, the yellow panouilles, under an ardent sun which darts violently its pallid light.’ He also is critical on the hanging in the Salon ‘The painting of Mr. Gustave Colin should give even more pleasure in the favorable light of the studio or of a welcoming gallery than on the wall where it is placed. The daylight that strikes on it literally kills the effect sought by the painter…’ (R264,p122). Compare: 18xx, The harvest of the sweetcorn, 64×42, A2010/03/31 (iR13;iR10;iR11;iR1); this work just depicts one peasant woman, which doesn’t match the review of Claretie. Compare a prepatory drawing study: 1873ca, Study for ‘la récolte du maïs’, dr, 54×41, MPP Paris (iR302;iR1;M4). Compare also: 18xx, The corn harvest in the Basque Country, 27×41, A2002/12/18 (iR13;iR10;iR1); and: 1895, Harvesting sweetcorn, 28×36, A2007/07/08 (iR12;iR10;iR46;iR1). At his death around 1882 Léopold Levert had in his studio a study of Colin with the title ‘Récolte de maïs’. Compare also EU1900-x. Urunaga lies in the neighbourhood of Ciboure.

S1873-325, Danseuse des rues en Navarre (Espagne) (Appartient à M. Mignon)
Eng.: women dancer in the streets of Navarre (Spain).

S1874-417, Sous les platanes, à Ciboure (Basses-Pyrénées)
Eng.: Under the plane trees in Ciboure (Lower-Pyrenees). (R87,p235). Maybe?: 18xx, Square before the townhall of Ciboure (à Octave Lacroix), 46×57, Axx (iR10;iR82;iR87;R87,p235;iR1).

S1875-481, Le matin de la fête d’Uruque (Basses-Pyrénées) ; le jeu de paume
Eng.: The morning of the Uruque festival (Basses-Pyrénées); the palm game. Claretie calls Colin a ‘very bright’ painter and this work ‘superb’ (R264,p357).

S1875-482, Marie Artinchola, paysanne basque
Eng.: Marie Artinchola, Basque farmer. To compare I render: 1871, Young woman with a fan, 101×61, A2011/04/01 (iR13;iR46;iRx;iR1), this young woman doesn’t look like a peasant woman.

S1876-461, Matin d’un jour d’été (Appartient à M. Gaudermon)
Eng.: Morning of a summer’s day. Castagnary mentions this work was one of the most strong and vibrant exhibited at the Salon (R9;R88). Maybe: 1876, summer afternoon in a French village, (French street scene with figures sitting in the shade), 74×96, A2011/06/10 (iR14;iR11;iR13;iR41;iR1).

S1876-462, Marie-Sabine, au lavoir ; pays basque
Eng.: Marie-Sabine at the laundry; Basque country. Maybe: 1870-75ca, At the washbasin (Fountain of San Pedro in Pasajes), 60×73, A2011/03/27 (iR13;iR13). Compare SNBA-1890-202.

S1877-522, Le Passage (Espagne)
Eng.: The gateway (Spain). Maybe: 1877, View of the harbour of Pasajes de San Juan, 44×73, A2006/11/07 (iR13;iR11;iRx;iR1).

S1878-539, Deux soeurs
Eng.: Two sisters. I could not find a suggestion.

S1879-695, Lamaneurs du golfe de Gascogne Appartient à M. G. Morel
Eng.: Bay of Biscay boatmen. Compare: 18xx, Basque fisherman, on panel 28×34, A2019/12/13 (aR19;iR1).

S1879-696, L’automne dans le pays basque
Eng.: Autumn in the Basque country. As a very uncertain suggestion I render: 18xx, Woman with a jug in a Basque landscape, 33×41, xx (iR10). Compare: SNBA-1894-268.

 

Gustave(-Henri) Colin at the Salon de la Société des Artistes Français (=SdAF):
1887 onwards Colin is called a Sociétaire de la Société des artistes français (iR1). Mostly Colin is called ‘Gustave-Henri’. In 1886 + 88 he is called ‘Gustave’ (iR1)..

SdAF-1880-829, La Nive, au Pas-de-Roland (Basses-Pyrénées), en octobre ;
Additional info: H. 1m,60.- L. 2m,20. (salle 28; exempt.). Now: La Nive, au Pas-de-Roland (Basses-Pyrénées), en octobre, 160×222, MBA Marseille (iR23;M177); unfortunately I don’t have a picture. La Nive is a river in the lower Pyrenees, near Bayonne. Compare a study sold at Hôtel Drouot: HD1882-16. La Nive, au pas de Roland. Environs de Bayonne. (Étude pour le tableau du Salon de 1880). 52×79. Sold for 649 francs. Compare also: 18xx, Pyrenean landscape with a stream and a village woman, 65×81, A2021/03/12 (aR20).

SdAF-1880-830, Ruines de la tour de Bordagain, à Saint-Jean-de-Luz, en août ;
Additional info: H. 0m,65.- L. 0m,92. (salle 19; exempt); Appartient à M. Mignon. The tower of Bordagain lies in Ciboure, opposite of Saint-Jean-de-Luz and lies on a plateau, from which you can have a few on the harbour and the lighthouse, see map. To compare I render: 18xx, French Harbour, 32×41, A2000/01/24 (iR13;aR5;iR1).

SdAF-1881-502, Lamaneurs basques en rade; Saint-Jean de Luz; gros temps de N.-O.
Eng.: Basque skiffs in port; Saint-Jean de Luz; heavy weather from NW. Now: 1881, Basque skiffs in the bay; Saint Jean de Luz; heavy weather from NW, 270×382, MC Le Puy-en-Velay (iR23;M178).

SdAF-1883-561, Le matin.

SdAF-1886-553, La messe du matin; Navarre
Maybe: 18xx, Mass, 65×81, A2007/10/03 (iR14;iR13;iR11).

SdAF-1887-570, Portrait; Appartient à Mlle E. L…

SdAF-1887-571, Les vieux chênes de Belcheneia; environs de Saint-Jean-de-Luz; Appartient à M. le comte Doria
Probably: 1884(?), The old oak of Belchenia in Urrugne, xx, MBA Arras (iR10;iR94;M174;iR1). Probably also auctioned as HD1882-30 and HD1886-12. Therefore I doubt if the date is correct, it is not on the painting.

SdAF-1888-614, Novillada; en Biscaye.
La Novillada is a form of bullfighting (on the village square). Biscaye is a province within the region of Spanish Basque country. According to the Musée des Beaux-Arts in Pau now: 1888, Novillada en Biscaye (young bullfighting in Biscaye), 161×201, MBA Pau (iR10;aR15;iR6;iR23;aR16=M170;iR1). It was bought by the State in 1889 (iR23).

 

Gustave Colin at the Salon de la Société National des Beaux-Arts (=SNBA):
Note: Colin is called a Sociétaire de la Société nationale des Beaux-Arts (iR1).

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1890 (=SNBA-1890):
SNBA-1890-201, Jeune fille passant un ruisseau dans les Pyrénées
To compare I render: 1882, Washerwomen on the riverbank, 65×81, A2011/11/21 (iR13;iR10;iR1).

SNBA-1890-202, La Fontaine de San Pedro à Pasajes
Maybe: 1870-75ca, At the washbasin (Fountain of San Pedro in Pasajes), 60×73, A2011/03/27 (iR13;iR13) . Compare S1876-462.

SNBA-1890-203, Tête d’étude.

SNBA-1890-204, Le Mont Sécunac à Gavarnie.

SNBA-1890-205, Villa dans un pays basque.

SNBA-1890-206, Pasajes – Saint-Jean (entrée du port)
Maybe: 1877, View of the harbour of Pasajes de San Juan, 44×73, A2006/11/07 (iR13;iR11;iRx;iR1). Compare: 1IE-1874-49.

SNBA-1890-207-1, Galères navarraises; Appartient à M. Lutz
Eng.: Navarrese galleys. Nl.: Navarrese galeien.

SNBA-1890-207-2, Quartier de Gitanos à Ciboure; Appartient à M. Lutz

SNBA-1890-208, L’Ecoute cassée (Pêcheurs surpris par un grain); Appartient au comte Doria
Eng.: The broken ear (Fishermen surprised by a squall). Nl.: Gebroken Luisteren (Vissers verrast door een rukwind).

SNBA-1890-209 ; L’Epave (Entrée du port de Pasajes); Appartient à M. Mignon
Eng.: The Shipwreck. Maybe?: 18xx, The shipwrecked man, 81×117?, A2021/01/21 (iR13;iR1).

SNBA-1890-210, La terrasse de Pablo à Pasajes.

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1891 (=SNBA-1891):
SNBA-1891-202, Portrait de Mlle M. D
As a very uncertain suggestion I render: 18xx, Young woman with mantilla, on wood, 27×22 A2020/02/25 (iR259;iR1) Former Doria collecton.

SNBA-1891-203, Portrait de M. A…., archiprêtre de la cathédrale d’Arras.

SNBA-1891-204, “Novillada” sur la place d’un village Guiposcoan (Espagne); M. le comte Doria
Now maybe: 1887, In the bullring, 97×119, A2009/12/19 (iR13;iR1).

SNBA-1891-205, Marin de Saint-Jean-de Lyz, dirigeant un navire dans les passes (gros temps); M. le comte Doria

SNBA-1891-206-1, La grande rue de Fontarabie (Espagne).

SNBA-1891-206-2, Paysage (étude).

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1892 (=SNBA-1892):
SNBA-1892-246, Pelotaria basque
Eng.: Pelote players. Maybe?: 18xx, A Game of Pelota under the Walls of Hondarribia (Fontarabie), 33×43, A2020/06/22 (iR10;iR11;iR23;iR1).

SNBA-1892-247, Dernier espoir; Appartient à M. le comte Doria
Eng.: The last hope. It is unclear what this painting does depict.

SNBA-1892-248, La Digue de Socoa; Appartient à M. le comte Doria
The Socoa seadike in Ciboure, see location. Maybe: 18xx, Fortress at dusk, on panel, 27×35, A2019/12/13 (aR19;iR1;aR5). Maybe?: 1877ca, High Tide, Saint-Jean de Luz, ?cm, xx (iR10;iR1).

SNBA-1892-249, La Mer à Saint-Jean-de-Luz; Appartient à M. le comte Doria

SNBA-1892-250, Retour de pêche; Appartient à M. le comte Doria

SNBA-1892-251, Saint-Sébastien; Août 1891; Appartient à M. le comte Doria

SNBA-1892-252, Paysage; Ciboure.

SNBA-1892-253, Portrait de M. le docteur M...

SNBA-1892-254, Marchand de Journaux des rues d’Arras; 1866

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1893 (=SNBA-1893):
SNBA-1893-231, Espagnole
Maybe?: 18xx, The Spanish woman with a shawl, 130×96, A2009/05/28 (iR13;iR10;iR1).

SNBA-1893-232, Basque allant au marché; Appartient à M. Malcoud

SNBA-1893-233, En Navarre; Appartient à M. le comte Doria

SNBA-1893-234, Navire cherchant refuge en rade de Saint-Jean-de-Luz; Appartient à M. le comte Doria

SNBA-1893-235, Orage dans les Pyrénées; Appartient à M. le comte Doria

SNBA-1893-236, Le Ruisseau de Bastan à Bédarray; Appartient à M. J. Magnier
Maybe: 18xx, The bridge at Bidarray, 32×41, A2014/08/03 (iR13;iR46;iR1).

SNBA-1893-237, Portrait de Mme J. M...
As a very uncertain suggestion I render: 18xx, Portrait of a young woman, 46×38, A2016/09/20 (iR11;iR1).

SNBA-1893-238, Portrait de Mme G. C…
Maybe Mme Gustave Colin. Compare: 18xx, The artist his wife, 63×45, Orsay (iR23;M1). Note: his wife looks on this painting around 20, so it was maybe made around their marriage in 1860.

SNBA-1893-239, Un gave dans les Pyrénées
Colin depicted several times a gave in the mountains, see thematical and topographical overview. As an uncertain suggestion I render: 1880ca, Gave de Pau à Gèdre, 60×81, Axx (aR20;iR1;aR5).

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1894 (=SNBA-1894):
SNBA-1894-262, La procession de Nuestra Senora de la Guadeloupe à Fontarabie. Le départ pour l’ermitage.
Maybe: 18xx, Procession of Notre-dame De Guadeloupe at Fontarabie, xx, xx (iR311;iR10;iR1).

SNBA-1894-263, Pleine mer
Maybe?: 18xx, Boat on the ocean, 26×33, A2010/02/19 (iR13;iR11;iRx;iR1).

SNBA-1894-264, Maison de pêcheur à Ciboure
As a very uncertain suggestion I render: 1878, Basque house, 60×74, Axx (aR20) .

SNBA-1894-265, Au pays basque.

SNBA-1894-266, La mer à Guethary (novembre); Appartient à M. le vicomte F. Doria

SNBA-1894-267, Le pic du Midi de Bigorre
For the location of this mountain peak, see map. See the  thematical and topographical overview for exhibited works with the same subject.

SNBA-1894-268, Paysage d’Automne
Maybe??: 18xx, Woman with a jug in a Basque landscape, 33×41, xx (iR10;iR1). Compare: S1879-696, L’automne dans le pays basque.

SNBA-1894-269, Rue à Gèdre, Appartient à M. G. Lutz

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1895 (=SNBA-1895):
SNBA-1895-296, Cyclone.

SNBA-1895-297, Manoir abandonné
Maybe: 1894, The Garden House, 33×40, private (iR2;iR35).

SNBA-1895-298, Pêcheur en rade; Appartient à M. le comte Doria
Maybe: 1894, (Pasajes?) Vessel in front of the cliffs, 27×34, A2019/04/28 (iR13;iR1). Maybe?: 18xx, Fishing off a rocky coastline (in Pasajes), 26×34, A2007/06/12 (iR11;iR1). Maybe?: 18xx, Shore landscape with anglers and sailing boats, 32×54, A2012/09/20 (iR13;iR11;iR1).

SNBA-1895-299, Route de Gavarnie; Appartient à M. le comte Doria

SNBA-1895-300, Golfe de Gascogne; Appartient à M. le comte Doria

SNBA-1895-301, Verger (pays basque)

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1896 (=SNBA-1896):
SNBA-1896-313, Pilotes basques
Eng.: Basque helmsmen. Nl.: Baskische stuurlui. To compare I render: 18xx, Basque fisherman, on panel 28×34, A2019/12/13 (aR19;iR1).

SNBA-1896-314, Portrait.

SNBA-1896-315, Digue de mer; Appartient à M. le comte Doria
Maybe?: 1877ca, High Tide, Saint-Jean de Luz, ?cm, xx (iR10;iR1).

SNBA-1896-316, Port de Pasages
Maybe?: 18xx, Animated riverside (HW: the passageway in Pasajes), ?cm, xx (iR10;iR41;iR1) . Compare: 1IE-1874-49.

SNBA-1896-317, Paysage d’hiver (midi); Appartient à M. Malcoud

SNBA-1896-318, Paysage de montagnes
Colin rendered many mountain views. I render some (very) uncertain suggestions: 18xx, Pyrenean landscape with a stream and a village woman, 65×81, A2021/03/12 (aR20); and: 18xx, Pyrenean Landscape, 27×40, A2014/03/26 (iR13;iR11;iR10;iR1); 18xx, Pyrenean Landscape, 27×42, A2016/05/18 (iR13;iR11;iR1;aR9).

SNBA-1896-319, Paysage d’Espagne.

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1897 (=SNBA-1897):
SNBA-1897-311, Marée d’équinoxe
Compare: Lille-1866-347, Entrée du port de Pasages (Guipuscoa); temps d’équinoxe.

SNBA-1897-312, Gitanas
To compare I render: 18xx, Portrait de Gitane (Portrait of a gypsy), 56×47, Axx (iR10;iR87;iR1).

SNBA-1897-313, Etude décorative.

SNBA-1897-314, Matin (Ciboure).

SNBA-1897-315, Au marché de Saint-Jean-de-Luz.

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1898 (=SNBA-1898):
SNBA-1898-299, L’Atlantique.

SNBA-1898-300, Après l’orage (golfe de Gascogne).

SNBA-1898-301, Au pays basque (panneau décoratif).

SNBA-1898-302, La serre.

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1899 (=SNBA-1899):
SNBA-1899-363, Entrée du port de Pasages
Maybe: 1899, Entrance of the harbour (Pasajes), 82×105, A2004/06/11 (iR13;iR1). Compare: 1IE-1874-49.

SNBA-1899-364, Montagnes (Navarre)
Maybe?: 18xx, Le contrebandier (The smuggler), 27×35, A2012/02/15 (iR13;iR12;iR10).

SNBA-1899-365, Jeune fille (étude)
As a very uncertain suggestion I render: 18xx, Little girl with flowers, 61×50, xx (iR10;iR1), but it doesn’t look like a study.

SNBA-1899-366, Portrait de M. Hermann Paul (1889); Appartient à C. P…

SNBA-1899-367, Le Gave (Pyrénées); Appartient au comte Doria
See the thematical and topographical overview for exhibited works with the same subject.

Gustave Colin at the Salon de la Société National des Beaux-Arts 1901:
Note: the Salon database doesn’t render data of this Salon (iR1), so it is unclear if Colin did exhibit. In 1900 there was no Salon de la Société National des Beaux-Arts.

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1902 (=SNBA-1902):
SNBA-1902-251, Portrait de Mme D. D…
Maybe: 1902, Portrait of a woman (large detail), 82×66, xx (iR116;iR1).

SNBA-1902-252, Souvenir de Grenade; Appartient à Mme Esnault-Pelterie

SNBA-1902-253, Le pont d’Alcantara à Tolède.

SNBA-1902-254, La mer à Guethary.

SNBA-1902-255, Le pic du midi de Bigorre.
See the thematical and topographical overview for exhibited works with the same subject.

SNBA-1902-256, Jardin dans le Midi.
Note: it is unclear if ‘Midi’ refers to midday / noon (so an indication of time) or to a region in the south of France (so an indication of place). As a very uncertain suggestion I render: 18xx, Woman with an umbrella in a garden, 54×65, A2019/12/13 (aRx;iR10;iR85;iR1).

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1903 (=SNBA-1903):
SNBA-1903-298, Le chemin du lavoir (pays basque); Appartient à Mme Berne-Bellecour

SNBA-1903-299, Gana-Chumé.

SNBA-1903-300, Fin d’été (pays basque).

SNBA-1903-301, Le pic du midi de Bigorre et le mont aigu (Hautes-Pyrénées)
See the thematical and topographical overview for exhibited works with the same subject.

SNBA-1903-302, La rade de Pasajes (Espagne)
Maybe?: 18xx, The harbour (HW of Pasajes?), 33×55, A2007/06/27 (iR13;iR17;iR10).

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1904 + 1905:
Note: the Salon database doesn’t render data of these Salons (iR1), Dugnat renders them of 1905 (R228).

SNBA-1905-294, La Nive au mont Arro (Basse Navarre).

SNBA-1905-295, Énigme.

SNBA-1905-296, Un jardin au pays basque.

SNBA-1905-297, Ciboure et la montagne de la Rhune (vers le soir).

SNBA-1905-298, Matin d’été (frontière d’Espagne).

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1906 (=SNBA-1906):
SNBA-1906-281, Exposition spéciale; Voir salle VIII
Note: it is unclear how many and which paintings Colin did exhibit.

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1907 (=SNBA-1907):
SNBA-1907-277, Portrait de Mlle M. W…
As a very uncertain suggestion I render: 1895-1910ca, Young woman with a white collar, 46×38, 2012/10/17 (iR13;iR11;iRx;iR1). Note: the ‘Gibson girl’ hairstyle of the young woman, that was common from 1895-1914ca, see Rouart, that’s why I felt free to suggest this dating.

SNBA-1907-278, La mer avant la tempête (Saint-Jean-de-Luz)
Maybe??: 18xx, Bateau au large (Boat off shore), 54×64, A2007/01/30 (iR13;iR11;iRx).

SNBA-1907-279, Un gave dans les Pyrénées
See the thematical and topographical overview for exhibited works with the same subject.

SNBA-1907-280, La route du sémaphore à Pasages (Espagne)

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1908 (=SNBA-1908):
SNBA-1908-246, Partie de pelote au Rebot sur la place de Sare (Basses-Pyrénées) ;
Additional info: Le jeu de Rebot est le jeu classique des Basques. Compare: 1908ca, Basque pelota game at the rebot in Sare, dr, 24×34, xx (aR7=iR117;iR10). According to the Gallery Lererbon, this drawing was exhibited in 1908, but the Salon database doesn’t indicate it was a drawing, so I render it to compare.

SNBA-1908-247, Mon jardin à Ciboure; Appartient à M. Benjamin Rosalès
Maybe: 18xx, The artist’s garden in Ciboure, 32×41, A2014/11/14 (iR11;iR46;iRx;iR1).

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1909 (=SNBA-1909):
SNBA-1909-252, Jeune Guipuzcoane à la fontaine ; Appartient à Mme Berne-Bellecour

SNBA-1909-253, Le mont Arro (Basse Navarre)

SNBA-1909-254, Le jardin des lauriers roses
Maybe: 18xx, Le jardin des lauriers roses (The garden of oleanders), xx, xx (iR10;aR9). Compare: HD1909-13, Le Jardin des lauriers-roses, 81×65.

SNBA-1909-255, Matin dans les Pyrénées (panneau décoratif)

Gustave Colin at the Salon de la Société National des Beaux-Arts of 1910 (=SNBA-1910):
SNBA-1910-265, Attendant l’heure de “los toros”.

SNBA-1910-266, Dans le Midi.

 

 

Gustave Colin at the Expositions Universelles et Internationales:
Colin exhibited at the Exposition Universelle in 1889 + 1900. Note: Monneret doesn’t mention Colin as partaker in 1900 (R88II,p256). The other sources (R9;iR107) are not fully clear in what works Colin exhibited.

1889: Exposition Universelle d’Oeuvre d’Art (R231/iR40):
EU-OdA-1889-321, Les Lamaneurs basques; rade de St-Jean-de-Luz (Musée du Puy; Salon 1861)
EU-OdA-1889-322, La messe du matin en Navarre (M.I.P. and B.A.; Salon 1886)

1889: Exposition Centennale (=EU-C-1889) (R231/iR40):
EU-C-1889-145, La sortie de l’église, à Ciboure (app. à M. Mignon)
EU-C-1889-146, La chasse de Diane (?)
Note: an unusual theme for Colin.
EU-C-1889-147, Le chemin montant de Bordagani (app. à M. H. Rouart)
In the posthumous Henri Rouart sale in 1912 there was a work called ‘Le Chemin montant de Dordagain’, with the following description ‘In the foreground, the white path lined with grass and bushes rises. Above, a Basque house in front of a curtain of trees. Signed on the right and dated 1871. Canvas. – Height: 74 cm, width 98 cm’ (R45).

1900: Exposition Centennale (=EU-C-1889) (R231/iR40):

EU-1900-111 La Récolte du maïs (à Urugana, Basses-Pyrenées) (à M. Demonts) (R9;iR107)
Eng.: The sweetcorn harvest. Compare S1873-324. 

EU-1900-112, Paysage des Pyrenées (à M. Henri Rouart) (iR107)
In the posthumous Henri Rouart sale in 1912 there was a work called ‘Le Chemin montant de Dordagain’, with the following description ‘In the foreground, the white path lined with grass and bushes rises. Above, a Basque house in front of a curtain of trees. Signed on the right and dated 1871. Canvas. – Height: 74 cm, width 98 cm’ (R45). So, maybe the same as EU-C-1889-147.

EU-1900-x L’entrée du port (R9)
Eng.:  the entrance of the harbour. Note: Colin depicted often an entrance of a harbour. See also 1IE-1874-49. Note: In the posthumous Henri Rouart sale in 1912 there was a work called ‘La Baie de Saint-Jean-de-Laz’ (sic: Laz should be Luz), with the following description ‘In the foreground, a boat with rowers; on the right, the pier; in the background, the city. Signed on the right and dated 1878. Canvas. – Height: 82 cm.; width: 1 m. 19.’ And also a work called ‘Paysage’, with the following description ‘The bay of Pasajés surrounded by hills, at dusk. In the foreground, a boat with rowers. Signed on the left. Canvas. – Height: 65 cm., 81 cm wide.’ (R45). Note: Pasajes and Saint-Jean-de-Luz lie at the the extremities of the Pyrenees, so both titles could refer to the one and same painting.

Salon-1900-463
The MBA Pau (M170) mentions that the picture ’18xx, Sbl, The Pasajes chanel, evening effect, 66×100, MBA Pau’, has the inscription ‘Salon 1900 cat.463’, but it is unclear to what exhition it refers to.

1913, Exposition Universelle, Ghent:

Ghent-EU-1913-104, Portrait de femme.
Send in by his widow.

 

Regional exhibitions:
Colin sometimes exhibited at regional exhibitions.

Lille, 1866/07/22, expositions des Beaux-Arts (R248):
Lille-1866-346, Route de Gedré à Gavarnie (Hautes-Pyrénées).
x

Lille-1866-347, Entrée du port de Pasages (Guipuscoa); temps d’équinoxe.
Eng.: Entrance to the port of Pasages (Guipuscoa); equinox weather. The equinox is an astronomical event, which takes place around 20 March and 23 September (iR3).

Toulouse:

Toulouse-1887-126, Marchande de sardines.
Additional info: 500 francs.

Pau:
Pau-1904-126, Sur la route du Castillo à Pasajes (?)
Now: 1900-04, On the road to the castle in Pasajes, 82×65, MBA Pau (iR6;iR23;aR16=M170) Source: Musée des Beaux-Arts in Pau.

 

 

Other exhibitions:

Paris-1910/04/18-86, Descente de croix (Venise) (R247;aR14)
Note: an unusual theme for Colin.

MdLuxembourg-1912-120, Paysage, 152×220 (R247;aR14)
A very common title.

Gand-1913-104, Portrait de femme (R249;aR14)

A1917/03/19-20, Les Pyrénées, 27×35 (R244;aR14)

 

Hôtel Drouot auctions:
Colin often sold his works at auction held in Hôtel Drouot, namely in 1879+82+84+86+88+95+97+99+1909 (R88I,p146). Of 3 auctions the titles of the works he exhibited are known: in 1882, 1886 and posthumous in 1909.
1882/03/29: 35 works rendered as HD1882-no.. (see aR5)
1886/03/25: 23 works rendered as HD1886-no.. (see aR8)
1909/12/03: 45 works rendered as HD1909-no.. (see aR9).
See the thematical and topographical overview of the titles of his pictures.
Summarize:
35 + 23 + 45 = 103 works
Of which 80 has an indication of place.
31 have an indication of time of day / season / weather conditions.

 

Recommended citation: “Impressionism: Gustave-Henri Colin, an account of his exhibited works. Last modified 2023/12/27.  https://www.impressionism.nl/colin-account/.”