Desboutin, account

Impressionism, a historical reconstruction:

Marcellin(-Gilbert) Desboutin

(1823-1902)

Account

of his exhibited art-works

 

 

Works Desboutin exhibited in 1876, at the Salon and at other exhibitions:
Desboutin exhibited about 17 art-works at the 2nd ‘impressionist’ exposition in 1876. Moffett mentions Desboutin’s works were hung in the first room (R2,p146). Here below you will find an account of what works he might have shown in 1876 and also through the years at the Salon and at other exhibitions. You will also find additional information. For general information on Desboutin and information about the used sources and references see. See the links for the pictures exhibited in 1876 and at the Salon and other exhibitions.

 

General overview 1876:

  • catalogue numbers 60 – 72hc
  • It is unclear how many works Desboutin did exhibit. No.67-72 all seem to contain at least 2 works, when we look at the titles ‘portraits (and studies)’. Still, Dax / Rivière enthousiast about his etchings writes ‘All these masterpieces should be cited,’ and then renders 6 titles. Only this last title again is a plural ‘Portrait des femmes’, which is affirmed by d’Olby who uses the term ‘several’. So, this work depicts one etch in which Desboutin renders two or more portraits of women or he showed two or more dry points with each a portrait of a women. As a couldn’t find one etch depicting several heads of women, nor a similar title (R85;R158), I assume that it contained ‘several’ etchings, each depicting (a head of) a woman. I think that the term ‘several’ suggests about 4 works.
    So I assume that no. 72 contained about 4 etchings.
  • Desboutin probably also exhibited a work that was not in the catalogue (=hc = hors catalogue).
  • So in total Desboutin exhibited 13 + 3ca + 1hc = 17ca works, including 7+1hc=8 paintings and about 9 dry points
    Note: some sources wrongly mention that he exhibited 6 paintings and 7 etchings (R88;R9).
  • But are the works that are assumed to be oil paintings really oil paintings? Of several of them only etchings exists and Clément-Janin doesn’t mention an oil painting with the corresponding title, see no.60+63+64+66.
    • all works were portraits or figure paintings
    • 0x an indication of place
    • 0x an indication of time, season or weather
    • at least 8x a study
    • 0x a loan
  • See Moffett (1986=R2,p) and Berson (1996=R90II,p36/37 + 50/51)
    Note: Berson refers to Noel Clément-Janin: La Curieuse Vie de Marcellin Desboutin, peintre, graveur, poète. Paris, H. Floury, 1922 (R90II,p295;R158=iR19).

Catalogue 1876: (R2,p161; iR1)

2IE-1876-60, Chanteurs des rues
Eng.: Singer in the streets. Moffett doesn’t give a suggestion. Berson renders a print after his painting: 1872, Chanteurs des rues de Paris, etch ps 4th, 31×22, BNF Paris (iR40;iR10;R90II,p36+50;R158,no37;R85XII,no151). She refers to the reviews of Pothey and Chaumelin. The first one writes ‘His Chanteurs des rues have a realistic approach that I do not dislike’ (R90I,p68). Pothey (1876/03/31) called it ‘a scene of frightening realism’ and decribed ‘They are two street singers, the mother and the son, obviously taken from life. The woman, miserably dressed, bears the marks of degeneration and vice on her face; The boy, covered in rags borrowed from an old uniform, wearing a deformed kepi, is even more hideous, for he is the cynical child, forever degraded, the most distressing of spectacles.’ (R90I,p104). Note: Clément-Janin doesn’t mention an oil painting called ‘Chanteurs des rues’, he does render this etch (R158,no37) and Beraldi also mentions it (R85XIII,no151).

2IE-1876-61, Etude d’enfant
Eng.: Studie of a child. Moffett doesn’t give a suggestion. Berson refers to the reviews of Enault and Rivière. The last one reviewed ‘Un portrait d’enfant, a small boy wearing a cap (‘calotte‘), chubby / fluffy and charming, is in the same solid and amusing style.’ (R90I,p70) The first one reviewed ’the most remarkable is a life-size study of a child, in which a certain frankness of touch is to be praised, and a certain affectation of realism blamed.’ (R90I,p82). Berson leaves it unidentified, but suggests with a perhaps ‘1873, Enfant au maillot (dans une corbeille)’ (R90II,p36;R158,no19). This work depicts a baby swaddled and lying in a wicker basket (R158,p19+261). The ‘calotte’ of Rivière doesn’t correspond with the depicted baby being swaddled, so I doubt if this is a good suggestion. According to Clément-Janin, Desboutin made in 1873 a painting of his son ‘André Desboutin’; in 1874 an ‘étude de petite fille’ + ‘enfant riant, à la médaille’; in 1875 ‘enfant en robe bleue (un mouchoir sur la tête)’ + ‘enfant au polichinelle’ + ‘étude de jeune garçon’ + ‘jeune fille au chat’; in 1876 ‘enfant aux lampions’ (R158,p259-263). All these works are potential options for no.61, but I couldn’t find pictures of them. To compare I render: 1883, SDtl, Full-length portrait of André Desboutin, on board, 41×24, A2012/05/15 (iR13). Note: André was born in 1870, so this isn’t André or Desboutin used an earlier portrait of André, when he was about five years old, which would mean this work was first made in 1875. Anyway, the boy is depicted ‘lifesize’ and wearing not a ‘calotte’, but a cap.

2IE-1876-62, Portrait de M. F…
Moffett and Berson suggests ‘1874, SDbr, Portrait of Jean-Baptiste Faure, 41×33 (or 38), Wheelock Whitney & Company, New York’ (R2,p161+177;R90II,p36+50). Berson refers to the review of Rivière, who just mentions ‘a portrait of a young man’ (R90I,p70). Walther also renders this picture (R3,p130). Faure was a baritone in the Paris Opéra and a collector also of impressionist art.

2IE-1876-63, Les premiers pas
Eng.: The first steps. Moffett doesn’t give a suggestion. Pothey (1876/03/31) called it ‘a large painting’ and described the painting (R90I,p104), see also Punch (1876/04/02). Dax / Rivière (1876/05/01) reviewed ‘His interior is reminiscent of Franz Hals’ and als decribed the painting (R90I,p70). Chaumelin remarks that his work ‘is of an exaggerated size – for a genre painting.’ (R90I,p68). Berson renders a print after his painting: 1879, Les premiers pas, etch 5/5, 20×28, xx (R90II,p36+51;R158,no199). Compare: SNBA-1901-282, Les premiers pas.

2IE-1876-64, Le violoncelliste
Moffett / Clayson suggests a larger version of ‘1874, Le jouer de violin, 120×65, Musée de Moulins’ (R2,p148+146). Some suggest this work was exhibited at the Salon of 1874: S1874-hc?, Il musicante (aR8;R158,p261), but it was not in the catalogue (iR1). Compare also a smaller version: 1875, The violinist, 33×21, A2014/12/19 (iR17;iR210;iR10;iR13;iR39;iR37;R2,p148+161). Berson remarks it may have affinities, but the musical instrument differs. She suggests a print possibly after this painting: ‘Edmond Levrault, violoncelliste’ (R90II,p36;R158,no166): 1876, Edmond Levrault, violoncelliste, etch, xx, BNF Paris (iR40,btv1b10524705x;R158,p262;R2,p161;R90II,p36). There were several reviews. Some just mention the title, like L’Audience and Pothey. Enault (1876.04/10) reviewed ‘We prefer a small canvas as big as a hand, entitled: le Violoncelliste. It is well drawn and very pretty in tone.’ (R90I,p82). Silvestre reviewed ‘a little portrait of a man titled le Viloncelliste also earnes a mention.’ (R90I,p110). Baron Schop called it the best of his paintings (R90I,p107). Bigot called this work ‘le Portrait de M. L*** jouant du violoncelle’ (R90I,p62).

2IE-1876-65, Tête d’étude
Eng.: study of a head. Moffett doesn’t give a suggestion. Berson doesn’t mention this work, which would mean there were no reviews. Still, Bigot wrote about ‘a small Tête d’enfant’ placed below’ (Le violoncelliste) (R90I,p62). This would mean, this study was a portrait of a child. No.61 also depicts a child but ‘life size’. Clément-Janin mentions an ‘enfant Italien (tête d’étude)’, made in 1863 and which was exhibited at the Salon (de la SNBA) of 1892: SNBA-1892-331, Enfant Italien (tête d’étude) (R158,p259;iR1). He also mentions a ‘Tête d’Italienne (toile ovale), made in 1869, a ’tête de jeune garçon’ and a ‘Tête d’enfant (étude)’ both made in 1873 (R158,p260-262). All these works are options for no.65, but I couldn’t find pictures of them. As very uncertain suggestions I render: 18xx, Enfant boudeur, 35×24, private; and: 18xx, Portrait of child, profile, 41×27, A2015/11/28 (iR11). 

2IE-1876-66, Portrait
Moffett suggests with a perhaps  ‘Mme N. de C.’ (R2,p161). Berson renders a print presumably after his painting: 1879, Portrait of Mme Hector de Callias (=Nina de Villart) (R90II,p36+51;R158,no31). Berson refers to reviews of Chaumelin (‘Femme accoudée), Pothey (le portrait charmant de Mme N. de C.) and Rivière. To compare I also render another etch: 1879, Mme Hector (Nina) de Callias (d), deuxième planche, etch, xx, BNF Paris (iR40,btv1b105247622;iR6;R2,p161;R85XIII,no39?). One of these etchings is probably exhibited as: S1879-5637-6, Portrait de Mme N. de Villart.
Moffett mentions Desboutin showed a work outside the catalogue (=hc) with the title ‘Femme accoudée’, probably referring to the review of Marius Chaumelin (1876/04/08) (R90I,p68). Berson doesn’t confirm this suggestion and suggests this refers to the painting of Nina de Callias (no.66), who is sitting leaning at her elbows (R90II,p37+283).

Note 1: for the numbers 67-72 I follow the arbibrarily sequence of Berson (R90II,p37):
Note 2: Bigot praised the ‘la couleur’ of his etchings (R(0I,p62), so maybe some were colour etchings.

2IE-1876-67, Portraits et études (gravure à la pointe sec)
Berson refers to the reviews of A. de L. and Mancino and suggests: 18xx, Jules Jacquemart, graveur, etch 3/3, 16×12, FAM San Francisco (R90II,p37+51;R158,no141;R2,p161).
2IE-1876-68, Portraits et études (gravure à la pointe sec)
Berson refers to the reviews of Rivière and suggests: 18xx, Norbert Goeneutte, peintre, ps, 25×16, Metropolitan (R90II,p37+51;R158,no111;R2,p161;R90I,p71).
2IE-1876-69, Portraits et études (gravure à la pointe sec)
Berson refers to the review of Rivière (‘un autre peintre, M.R.’) and suggests 18xx, Henri Rouart, peintre et collectionneur, etch 2/2, 27×20, Metropolitan (R90II,p37+51;R158,no215;R2,p161;R90I,p71).
2IE-1876-70, Portraits (gravure à la pointe sec)
Berson refers to the reviews of Rivière (Le faiseur de cigarettes; R90I,p71), but leaves the work unidentified  (R90II,p37;R2,p161). Clément-Janin, nor Beraldi mention an etch that comes close (R158;R85).
2IE-1876-71, Portraits (gravure à la pointe sec)
Berson refers to the review of Rivière (‘le dilettante / art-lover, the same as the painting l’Imprimeur’; R90I,p71) and suggests 18xx, Le Dilettante (Leroy, imprimeur s’eaux-fortes), ps 3/3, BNF Paris (R90II,p37+51;R158,no165;R2,p161;R90I,p71)
2IE-1876-72, Portraits (gravure à la pointe sec)
Berson refers to the review of Rivière (‘Portraits de femmes‘), but leaves the work unidentified. (R90II,p37). Rivière reviewed ‘The portraits of women all retain the intimacy and brilliance of a sketch and the complexity of a finished work.’ (R90I,p71). G. d’Olby (1876/04/10) wrote ‘There are several heads of women’, maybe referring to this number and added ’the vivid and broad way in which they accuse the character of the models’ (R90I,p99). Desboutin made some drawings with several (heads of) women on one sheet. I couldn’t find such an etch, nor is it mentioned or described by Clément-Janin or Beraldi (R158;R85). So I assume, this work contained ‘several’ etchings depicting portraits and heads of women. I render some uncertain options he made in the years 1873-76: 1873, Princesse Colonna (born d’Affry; surnamed Marcello; detail), etch 2nd, 23×17, BNF Paris (iR40;aR10,no55;R158,no51;R85V,no14) (=!? S1877-4392-9, Portrait de Mme. la duchesse Colonna, gravure à la pointe sèche); and: 1875 (or 1873), Mme Camus, etch ps, 24×16, BNF Paris (iR40,btv1b105246958;R85XIII,no40;aR10,no49;R158,no33); and: 1875, Alice Ritter (Mme A. Desgranges), etch 1st, 40×20, BNF Paris (iR40;iR105;aR10,no131;R158,no213); and: 1876, Rosine Bloch à l’Opéra (detail), etch, 12×8, BNF Paris (iR40,btv1b10524731c;R85V,p191;R85XIII,no134;R158,p246).

2IE-1876-72+hc, L’Imprimeur / vieux dilettante.
Dax / Rivière reviewed ‘furthermore an old dilettante / art-lover pushed as far as one of his beautiful dry points.’ Later, referring to no.71 he wrote ‘le dilettante, the same as the painting l’Imprimeur (=the printer)’ (R90I,p70+71). This description doesn’t seem to refer to any of his catalogized paintings, so I render it as ‘hc’ = hors catalogue = outside the catalogue. But I couldn’t find a picture depicting a printer.

 

Desboutin at the Salon:
Only at the Salon of 1877 Desboutin is called a pupil of Drölling and Robert-Fleury (iR1). In 1882 and 83 he exhibited exempté (iR1).

S1869-718, Portrait de M. Jules Amigues
His debut at the Salon (iR65;aR11,p80). Walther wrongly mentions that his debut was in 1868 (R3). Desboutin had given the address of this same Jules Amigues as correspondence adres, living himself in Florence. Clément-Janin mentioned it was owned in 1922 by the Amigues family (R158,p260). Jules Amigues, was a journalist and politician and a friend of Desboutin (aR11,p80). Desboutin gave his address as correspondence address (iR1;aR11,p80). With him he wrote a drama play ‘Maurice de Sax’, which was performed at the Comédie-Française in Paris in 1870 (R88;aR9;aR10;aR11,p80).

S1869-3952, Deux eaux-fortes; même numéro :
Eng.: Two etchings; same number. His first name had been written wrongly as ‘Marcelin’ with one ‘l’.

S1869-3952-1, Portrait du bourguemestre Six, d’après Rembrandt, eaux-forte.
Probably now: 1869ca, Jan Six (after Rembrandt 1654), etch ps, 18×13, xx (iR6;iR1;R85V,p188). Note 1: the dating is mine. Note 2: Beraldi (1886) wrongly mentioned Desboutin had exhibited this work in 1868 (R85V,p188). Compare: SNBA-1890-1332, Une gravure, d’après Rembrandt: le Portrait du professeur Tulp.

S1869-3952-2, Portrait de femme, d’après Rembrandt
x

S1873-469, Portrait de M. R… en costume florentin
Claretie reviewed ‘This lean and ardent face, so well modelled and which comes out of the frame, is the work of a painter who forges verse as he grinds color, M. Marcellin Desboutin, the author of a Maurice de Saxe represented by the Comédie-Française, and of a Cardinal Dubois still unpublished, a robust, bold temperament, which only waits for the opportunity to manifest itself, either in art, or in letters.’ (R264,p119/220). Clément-Janin mentioned it was owned in 1922 by M. R. and it didn’t depict the actor La Roche (R158,p260+85)

S1874-587, Portrait de Mme R…
Maybe Madame Roland (iR65).

S1874-R, Joueur de Violin
Clément-Janin this work, also called ‘Il Musicante’, depicting his friend Hérald Dumas, owned in 1922 by the Musée de Moulins was refused for the Salon of 1874, together with another work (R158,p84+85+261). This is supposed to be 1874, The violinist (Hérald Dumas), 120×65, MAB Moulins (iR210;iR10;iR13;iR39;iR37;aR8;R2,p148;R90II,p36;M207) and some claim it was also exhibited as: 2IE-1876-64, Le violoncelliste.

S1874-R, La Roche, du Théâtre Français, dans le rôle de Fabrice de L’Aventurière
Mentioned by Clément-Janin (R158,p85).

 

reviews on S1875:
Claretie reviewed ‘Mr. Marcellin Desboutin, a literary scholar as well as a painter, the author of Maurice de Saxe, which was successfully performed at the Comédie-Française, is also in love with the new material processes of the art of painting, an art that is becoming a profession. But he came closer to the truth in his portrait of Madame D., of a singular virility, and in this study of an Italian who, standing, strums his violin in some courtyard. These are two bravely lifted figures. Mr. Desboutin is even more personal in a series of etching portraits, taken directly from the copper, at the end of the burin, and which he exhibits in the engraving galleries. I recognized there the faces of Edmond de Goncourt, of Ph. Burty, of Hipp. Babou. Mr. Desboutin has certainly, if he persists in this way’ (R264,p339).

S1875-648, Un industriel italien
Clément-Janin adds to this title ‘(1897)’ (R158,p262), it is unclear to me why.

S1875-649, Portrait de Mme D...
Clément-Janin mentioned it was owned in 1922 by Hérald Dumas (R158,p262). Compare: 1874, Hérald Dumas, etch, xx, BNF (iR40,btv1b10524498v)

S1875-3660, Portraits de MM. Cadart, H. Babou, Bowls, Deschamps, de Goncourt, Montefiore, Rouard, Vallois, et de Mlles M. Burty et B. Morisot, gravés à la pointe sèche. (Pour une collection artistique)

S1875-3660-1, Portrait de M. Cadart
Maybe now: 18xx, Print of a portrait of Alfred Cadart, etch, xx, xx. Mentioned by Beraldi (R85V,p189). Probably: 1875, Alfred Cadart, fondateur de la Société des Aqua-fortistes (1828-75), etch 1st state, 45×30, BNF Paris (iR40,btv1b10524692x;iR6;iR1;R85V,p189).

S1875-3660-2, Portrait de M. Babou
Probably: 1875, Hippolyte Babou, etch 1st, xx, BNF (iR40,btv1b10524641d;R85V,no11). 

S1875-3660-3, Portrait de M. Bowls
Probably: 1875, Mr Bowles, le critique anglais (d), etch, xx, BNF (iR40,btv1b105246723). 

S1875-3660-4, Portrait de M. Deschamps
Probably: 1875, Deschamps, marchand de tableaux à Londres (d), etch 1st, xx, BNF (iR40,btv1b105245898). 

S1875-3660-5, Portrait de M. de Goncourt
Mentioned by Beraldi (R85V,p189). Probably: 1875, Portrait of Edmond de Goncourt (d), ps, 40×26, A2021/03/17 (iR14;iR195;R85V,p189). 

S1875-3660-6, Portrait de M. Montefiore
Probably: 1875, Edward Lévi Montefiore (d), etch 1st, xx, BNF (iR40,btv1b10524711j). 

S1875-3660-7, Portrait de M. Rouard
Maybe this is a miswriting for Henri Rouart, exhibited as 2IE-1876-69, Portraits et études (gravure à la pointe sec).

S1875-3660-8, Portrait de M. Vallois.

S1875-3660-9, Portrait de Mll. M. Burty
Probably: 1875, Mademoiselle Madeleine Burty (d), etch, xx, BNF (iR40,btv1b105246740). 

S1875-3660-10, Portrait de Mll. B. Morisot
Probably now: 1876ca (or 1884), Berthe Morisot (d), etch ps, 26×18, A2014/09/23 + BNF Paris (iR4;iR11;iR17;iR40;iR1;R85V,no22).

S1876-633, Portrait de Mme G…
Maybe: 1876, SDcl, Portrait de Madame Emilie Gaillard (mère de Nina de Callias), 46×38, MM Dijon (iR127;iR23;M205). 

S1876-634, Portrait de M. A

S1877-683, Portrait de M. L. Leclaire (Voir Gravure)
Clément-Janin rendered ‘Léon Leclaire (1871, reëxposé à la Centennale de 1889) and mentioned it was owned in 1922 by the Leclaire family (R158,p263).

S1877-4392, Onze gravures à la pointe sèche : Portraits de MM. Puvis de Chavannes, C. Bigot, J. Richepin, Renouard, Lochard, G. Haas, Hayem, Cherfils ; de Mme la duchesse Colonna, de Mme V…, de Mme Alice J…
Eng.: 11 dry point etchings.

S1877-4392-1, Portrait de M. Puvis de Chavannes, gravure à la pointe sèche
Probably now: 1876, Puvis de Chavannes, etch, xx Cleveland MA.

S1877-4392-2, Portrait de M. C. Bigot, gravure à la pointe sèche
Probably now: 1877, Charles Bigot (d), etch ps, 45×33, BNF Paris (iR40,btv1b105246706;iR11;iR1) . 

S1877-4392-3, Portrait de M. J. Richepin, gravure à la pointe sèche
Probably now: 1877, Jean Richepin de l’Académie française, etch, xx, BNF Paris (iR40,btv1b105247355;iR1;R85V,p189). 

S1877-4392-4, Portrait de M. Renouard, gravure à la pointe sèche
Note: the name of Pierre-Auguste Renoir is sometimes miswritten as Renouard (R31,p?).

S1877-4392-5, Portrait de M. Lochard, gravure à la pointe sèche
Probably now: 1877, Portrait of the Photographer Lochard (d), etch ps, 18×28, Metropolitan (iR6;iR1;M23).

S1877-4392-6, Portrait de M. G. Haas, gravure à la pointe sèche
Mentioned by Beraldi (R85V,p189). Clément-Janin describes: ‘Sitting in an armchair, hands on a walking stick, everything in sketch form, except the head’ (R158,no117) =!? 1877, Charles Haas, collectioneur, ps, 16×12, Gallery Paris (aR10,no91).

S1877-4392-7, Portrait de M. Hayem, gravure à la pointe sèche
Probably now: 1877, Charles Hayem, collectionneur, etch, xx, BNF Paris (iR40,btv1b10524535d;iR1).

S1877-4392-8, Portrait de M. Cherfils, gravure à la pointe sèche
Probably: 1877, Portrait de Cherfils, etch ps, 20×15, INHA Paris (iR242;iR10;R85XIII,no41;R158,no42).

S1877-4392-9, Portrait de Mme. la duchesse Colonna, gravure à la pointe sèche
Probably now: 1873, Princesse (La Duchesse) Colonna (Marcello; d), etch 5th state, xx, BNF Paris (iR40,btv1b105246132;iR1;R85V,no14).

S1877-4392-10, Portrait de Mme. V…, gravure à la pointe sèche
Maybe now: 1876, Mme Valentin, etch 1st state, xx, BNF Paris (iR40,btv1b10524752n;iR1).

S1877-4392-11, Portrait de Mme. Alice J..., gravure à la pointe sèche
Compare: 1875, Alice Ritter (Mme A. Desgranges), etch 1st state, xx, BNF Paris (iR40,btv1b10524747g;iR1). Note: the ‘J’ suggests this is not the same person, but the date, the first name and the fact that Desboutin didn’t etch many women around 1877, still makes this work a possibility. The last name needs further investigation.

S1877-4393, Une gravure à la pointe sèche: Portrait du comte L. Lepic (Voir Peinture)
There are two options: 1876, Portrait du Comte Lepic, etch ps, xx, BNF Paris (iR40;iR1); and: 1876, Portrait de Comte Lepic, etch grande planche 5e état, BNF Paris (iR40;iR6;iR195;iR1;R87,p239;R85V,no20).

S1878-4789, Une gravure : Portrait de M. Henner
Probably now: 1878, Portrait of Henner, peintre, etch, xx, BNF Paris (iR40,btv1b10524603n;iR1;iR127;R85V,p189). Mentioned by Beraldi (R85V,p189). Clément-Janin (1922) who more often left out the etchings that Desboutin exhibited at the Salon, wrongly wrote that Desboutin didn’t exhibit at the Salon of 1878 (R158,p264).

S1879-949, Portrait de M. Dailly, dans le rôle de Mes-Bottes de l’Assommoir
Probably now: 1876, Portrait de M. Dailly, dans le rôle de mes bottes dans L’Assomoir, ps, 18×11, BNF + A2021/04/29 (iR40;iR17;R85V,no16). Desboutin received a 3rd class medal (R231/iR40;R88I,p196). Clément-Janin (1922) mentions 3 more prints of this work, owned by 3 different people (R1858,p265).  Beraldi (1886) mentioned that Desboutin made in 1876 several small portraits at the Opéra (R85V,p191).

S1879-950, Portrait de Mme B
Desboutin received a 3rd class medal (R231/iR40). Note: Beraldi suggests that a Self-Portrait was exhibited and rewarded at the Salon of 1879: in studio neglisé, hat on head, pipe in mouth, life size. Signed with the monogram MD. Large in-fol. Medal plate at the 1879 Salon. Superb portrait, of which no more than five or six proofs exist, i.e. with beautiful masses of black velvet shadows framing the face  (R85V,no1,p191). But this work in the catalogue refers to an oil painting of a woman, her last name starting with a B. This etch could refer to this oil painting exhibited: 1879, Mlle Daisy Bérend, depuis Baronne d’Estournelles de Constant, etch, BNF Paris (iR40,btv1b10524561v).

S1879-5637, Douze gravures:
(iR1;R158,p112)

S1879-5637-1. “Ma famille“.

S1879-5637-2. Etude de femme.

S1879-5637-3. Portrait de M. Legendre.
Probably: 1879, M. Legendre, courtier en tableaux (auteur et mon ami), ps 2nd, 22×20, BNF Paris (iR40;R85XIII,no61;R158,no157;aR10,no106;iR1).

S1879-5637-4, Guignol en chambre.
Probably: 1879, Guignol en chambre (Puppet theater; detail), etch, in-4, 41×41?, BNF Paris (iR40,btv1b10524585g;R85V,no4;R185,no116). After his painting: 1879ca, The puppet theatre, gouache, 20×25, A2003/10/28 (iR11;iR14;iR79). Note: also called Les fils de Desboutin, depicting Mycho and Melandri, but I no nothing about a son called Melandri. Mycho was born in 1870, his second surviving son, François, was born in 1878, it doesn’t seem he is depicted here.

S1879-5637-5. Portrait du jeune Lambert Lassus.

S1879-5637-6, Portrait de Mme N. de Villart.
I render two options: 1879, Mme Hector de Callias (Nina de Villart) (d), deuxième planche, etch ps, 20×15, BNF Paris (iR40,btv1b105247622;iR6;R2,p161;R85XIII,no39?;aR10,no48;R158,no32). And: 1879, Portrait of Mme Hector de Callias (=Nina de Villart), etch ps, 24×16, Metropolitan (iR10;M23;iR6;R2,p161;R90II,p36+51;R2,p161;R158,no31;R90I,p68+104;R85XIII,no39?;aR10,no46or47;R158,no31). Probably the etch after the exhibited painting: 2IE-1876-66, Portrait.

S1879-5637-7. “Ma fille“.
I assume this was a portrait of a daughter that died early.

S1879-5637-8. “Mon petit François“.
I assume this is a portrait of his son François, born in 1878.

S1879-5637-9, Maman et Toutou.
Probably: 1878ca, La Femme au toutou (au chien; Mme Desboutin), ps, 12×8, A2019/07/21 (iR4;iR17;iR105;iR1;R158,no101+p263;R85V,no3;aR10,no84). Compare: SNBA-1897-415, La dame au toutou.

S1879-5637-10. Portrait de M. Jules Sandeau.
Probably: 1879, Portrait de Jules Sandeau de l’Académie Française, etch ps, 12×8, A2013/06/08 (iR6;iR17;iR1;R85XIII,no133;R158,no223).

S1879-5637-11. Enfant de M. Lambert Lassus .

S1879-5637-12. Etude d’enfant.

S1879-5638, Cinq gravures :

S1879-5638-1. “Mon portrait
Clément-Janin mentions this was ‘Homme à la Pipe’, a dry point etch and that Desboutin received a 3rd class medal for it and that it was also exhibited at the Exposition (Universelle), where he received a medal of honor (R158,p120). Probably: 1879, L’homme à la pipe (autoportrait), ps, 44×36, A2021/12/14 (iR17;iR11;iR195;aR10,no62;R158,no63).

S1879-5638-2. Enfant de M. Ludovic Halévy.
Maybe: 1879, Le fils de Ludovic Halévy, assis dans un fauteuil, etch, 22×20, BNF Paris (iR40;R85XIII,no50;R158,no118,cp119).

S1879-5638-3. Portrait de M. Levraut.

S1879-5638-4. Portrait de Mme Bouquer de la Grie.
There are two options: 1879, Portrait of Madame Bouquet de la Grye, ps, 24×16, Metropolitan (M23;iR10;iR1;R85XIII,no36cp35;R158,no19cp18); and: 1879, Mme Bouquet de la Grye, ps, 21×19, INHA Paris (iR366;iR10;aR10,no37;iR1;R85XIII,no35;R158,no18).

S1879-5638-5. Portrait du docteur Collin.
Probably: 1879, Docteur Collin, médecin des Folies-Bergère, ps, 20×17, BNF Paris (iR40,btv1b10524577z;R85V,no13;aR10,no54;R158,no50).

 

Desboutin at the Salon de la Société des Artistes Français:

1880:
SdAF-1880- 1120, Portrait de Mme C… ;
Additional info: H. 0m,60.- L. 0m,55. ([salle] 27.). (Les “hors concours” sont placés dans les salles 12, 14, 16, 18, 20, 21 et 24. Les “exempté” dans les salles 3, 4, 6, 8, 10 et 12. Les non exempts dans les salles 12, 13, 15, 17, 19, 23, 26, 27, 28, 29 et à la galerie. Les étrangers dans les salles 3, 5, 7, 9 et 11.) Clément-Janin (1922) adds ‘(Cornereau) 1876, in 1922 in the Musée de Luxembourg, now: 1876, SDbr, Mme Cornereau, 46×38, Orsay (iR23;iR127;iR1;R158,p263+276;M1); but this work messures 46×38; so, or the messures given in the catalogue are including the frame, or the replica was exhibited (but mostly a replica is not larger (R158,p266+263). Probably also: EU-D-1900-?, Mme C. (R158,p276).
SdAF-1880-1121, La famille Loyson; trois portraits en tryptique [sic.]
Additional info: H. 1m,50.- L. 2m,00. ([salle] 17.). Probably there was a writting error. Maybe this work was a part of this tryptic: 1877, Hyancinthe Loyson, print of an oil painting (R158=iR364,p118).

SdAF-1880-6979, Une gravure: Chien et chat.
Probably: 1880, Three friends (Chien et Chat), ps 3rd, 56×46, xx (iR64;R158;R85V;XIII,no142or7;R158,no233;aR10,no144).
Additional info: the etchings were hung in ‘Salle XXX’ ; Desboutin exhibited ‘exempté’ with his 7 etchings (iR1;R158,p112).
SdAF-1880-6980, Six gravures :
SdAF-1880-6980-1. Portrait de M. H. Rochefort.
Probably: 1880, Henri Rochefort, journaliste (d), etch 2nd, 28×20, BNF Paris (iR40;iR6;R85V,p189;R85XIII,no69;R158,no214;aR10,133).
SdAF-1880-6980-2. Portrait de Mlle Mou-Mou.
Probably: 1880, Mlle Mou-Mou, etch ps, 28×20, BNF Paris (iR4;iR40;R85V,p188;R85XIII,154;R158,no182;aR10,no120).
SdAF-1880-6980-3. Portrait de M. Emile Zola.
Maybe: 1879, Émile Zola à la signature, ps, 16×12, A2020/07/08 + FAM Cambridge (iR17;iR6;R85XIII,no111;R158,no246;aR10,no148;M32).
SdAF-1880-6980-4. Portrait de Mlle B...
Maybe: 1879ca, Mlle Daisy Bérend, depuis Baronne (Comtesse) d’Estournelles de Constant, ps, 27×20, BNF Paris (iR40;R85XIII,no43;R158,no14;aR10,no35)
SdAF-1880-6980-5. Portrait de Mme la marquise de H
SdAF-1880-6980-6. Portrait de Mme de L. A. P

1881:
SdAF-1881-692, Portrait de M. C
SdAF-1881-693, Portrait de M. Duranty
Maybe: 18xx, Portrait de Duranty (?), xx, A2008/03/18 (iR17;iR41;iR1;R158,p267). Compare etch maybe made after this exhibited oil painting: 1876ca, Portrait Edmond Duranty (detail), etch ps, 23×15, FM Cambridge (R158,p70+267+no88;iR6;R5,p95;R85V,no18;R1,p377;M32).

SdAF-1881-4654, Une gravure : Portrait de M. ***
SdAF-1881-4655, Une gravure: Portrait de M. Coquelin cadet
Probably: 1881, Coquelin Cadet, de la Comédie française, etch, xx, BNF Paris (iR40,btv1b10524549m;R85V,no15)

1882:
SdAF-1882-816, Portrait de M. F. Alassonière
Clément-Janin mentioned it was owned in 1922 by the Alssonière family (R158,p267)

SdAF-1882-5275, Une gravure à la pointe sèche: Portrait du Dr Chonnow.
Probably: Beraldi, R85XIII,no42.

SdAF-1882-5276, Trois gravures : /
Note: all 3 mentioned by (Beraldi R85V,p189).
SdAF-1882-5276-1. Portrait de M. Katzenstein, gravure
Probably: 1882, Katzenstein, banquier à Francfort, etch, xx, BNF Paris (iR40,btv1b105248309;iR1;R85XIII,no56).
SdAF-1882-5276-2. Portrait de M. Durand-Ruel, gravure
Probably: 1882, Durand Ruel, marchand de tableaux (d), etch (after portrait) xx, BNF Paris (iR40,btv1b105245752;iR6;iR1;R85XIII,no86).
SdAF-1882-5276-3. Portrait de M. le comte d’Ideville, gravure
Probably: 1882, Comte Henri d’Ideville, écrivain et diplomate (d), etch, xx, BNF Paris (iR40,btv1b10524828g;iR6;iR1;R85XIII,no53).

1883:
SdAF-1883-751, Portrait de femme; étude (Appartient à M. F. W…)
Clément-Janin (1922) rendered the title ‘Juive a la fourrue’ (Eng.: Jewish woman with fur) and mentioned it was bought by the state (R158,p268).

SdAF-1883-4622, Une gravure: Portrait de M. E. Goudeau.
Probably: 1883, Emile Goudeau, poète, etch, xx, BNF Paris  (iR40,btv1b10524826k;iR1;R85V,no19).
SdAF-1883-4623, Trois gravures: / 1° Portrait de M. *** / 2° Etude de femme / 3° Zélia.
No.2: Beraldi mentions no.144: Étude de femme, effet de soir; and no.147: Étude de femme tournée à droiete, le bras gauche reposant sur un dos de fauteuil.

1884:
SdAF-1884-741, Chiens à vendre.
Eng.: Dogs for sale. Note: it seems that Desboutin didn’t exhibit any etchings.

1885:
SdAF-1885- 776, Etude pour une procession des enfants d’un asile, à Nice; Peinture
Note: it seems that Desboutin didn’t exhibit any etchings.

1886:
SdAF-1886-745, Portrait de M. le Dr B… ; Peinture
Clément-Janin (1922) mentioned it depicted Dr. Baréty and was owned in 1922 by Barety, Deputé ; he later made a dry point etch of this painting (R158,p144+271).

SdAF-1886- 5052, Une gravure: La surprise, d’après Fragonard
=!?1884-87, La poursuite (La surprise; after Fragonard), print of etch, 75×53?, xx (R158,p130, repro no9;R85XIII,no164;R85V,p191); note: wrongly rendered by Clément-Janin as ‘Le rendez-vous’); I assume his no.9 ‘La surprise’ is the same as Beraldi’s no.164 ‘La poursuite’, in the rendered chase, there is an element of surprise. After: Fragonard, 1771-72ca, The progress of love, the pursuit, 318×216, Frick Pittsburg (M38). =!? SNBA-1890-1331, Une collection de cinq gravures en pointe-sèche, d’après les Fragonard de Grasse (Alpes-Maritimes).
Mentioned by Beraldi to be printed in red (R85V,p191). In his 13th catalogue Beraldi he render different titles (R85XIII).

SdAF1886- 5053, Une gravure: Confidence, d’après Fragonard
=!? 1884-87, La Confidence ou les souvenirs (Confidence or memories; after Fragonard), ps, 75×51, BM London (iR105=M147;R158,repro no11;R85XIII,no165;R85V,p191) =!? SNBA-1890-1331, Une collection de cinq gravures en pointe-sèche, d’après les Fragonard de Grasse (Alpes-Maritimes). After Fragonard: 1771-72ca, The progress of love, love letters, 318×217, Frick Pittsburg (M38).
Mentioned by Beraldi to be printed in red (R85V,p191). In his 13th catalogue Beraldi he render different titles (R85XIII).

1887:
SdAF-1887-742, Portrait de M. Oligny.
Clément-Janin (wrongly?) renders the title as Rigny and adds it was owned by Rigny in 1922 (R158,p272). Note: it seems that Desboutin didn’t exhibit any etchings.

1888:
SdAF-1888-799, Portrait du fils de l’auteur.
Clément-Janin (1922) adds to the title  (Mycho) (R158,p272)
SdAF-1888- 800, Portrait de Mme M
Clément-Janin mentioned it was owned in 1922 by Darteyre (Nice) (R158,p272)

SdAF-1888-5142, Une gravure (eau-forte et pointe sèche): Portrait de l’auteur.
Desboutin exhibited ‘exempté’ for his etchings. Now: 1888, Self-portrait (man with the big hat), etch, 23×17, A2021/11/26 (iR17;iR6;iR40;R85XIII,no31?;R158,no73;aR10,no69). Note: Clément-Janin mentions this work was exhibited at the Salon of 1888 and corrects that the technique was pointe-sèche sur héliogravé (R158,no73).
SdAF-1888-5143, Une gravure (pointe sèche): Un fumeur.
Eng.: A smoker. Note: Desboutin often depicted himself smoking a pipe. Probably: 1888, Self-portrait (Fumeur au grand chapeau), etch, xx, BNF Paris (iR40,btv1b10524565n;iR1;R158,no71;aR10,no67). I suggest this work, because of the date and the similarities with no.5143.

1889:
SdAF-1889- 811, “L’homme qui rit”.

SdAF-1889- 5420, Une gravure : Portrait de l’auteur.
One of the many self-Portraits.
SdAF-1889- 5421, Une gravure: Le pape Pie IX.
Maybe: 1878, Pope Pius IX, etch, 44×33, A2019/01/24 (iR17;R158,no195;R85V,p189;R85XIII,no116or117). Note: Beraldi mentions two different plates depicting Pope Pius IX.

 

Desboutin at the Salon de la Société Nationale des Beaux-Arts:

1890:
Note: Clément-Janin wrote (wrongly) that Desboutin exhibited 10 paintings, instead of 11 (R158,p150).
SNBA-1890-275, Portrait de l’auteur, Peinture
Clément-Janin (1922) renders another title ‘Un fumeur (Desboutin)’ (R158,p272). Desboutin made many self-portraits, also smoking a pipe. It is possible this was an earlier painting, because other paintings exhibited in 1890 also were made earlier.

SNBA-1890-276, Portrait de M. Labiche
Clément-Janin (1922) renders ‘Eugène Labiche (1877) (R158,p272). Probably now: 1877ca, Portrait du dramaturge Eugène Labiche, 35×27, MNCh Versailles (iR127;iR3;iR23;iR1;iR40;R158,p263+272;M195)

SNBA-1890-277, Portrait de Mme M

SNBA-1890-278, Petite Fille au chien
Clément-Janin (1922) mentioned this work was made in 1883 and in 1922 owned by J. Desboutin and that there was also a replica made in 1897, owned in 1922 by Crépin-Leblond (R158,p268+272). Maybe one of his daughters.

SNBA-1890-279, Petit Garçon en pitre
Eng.: Little boy as a clown. Maybe one of his sons. Compare: 1897, Enfant déguisé (costume blanc et rouge; replica of 1883), 33×24, MAB Moulins (aR9;iR10;R158,p269;M207).

SNBA-1890-280, Une bonne bête
Clément-Janin (1922) adds (femme portant deux enfants), it was made in 1882 and in 1922 in the Petit Palais (R158,p268+272). Probably now: 1882, La bonne bête, 65×51, PP Paris (iR195;iR64;iR1;R158,p268+272;M4) .

SNBA-1890-281, Bouquetière Niçoise (à la feuille de chou)
Clément-Janin (1922) adds (Jeune fille coiffée d’une feuille de chou) (R158,p272; Eng.: Young girl with a a hairdo of cabbage leaf). Probably: 1899, Femme coiffée d’une feuille de chou (type de Niçoise), xx, Axx (iR10;iR11;iR1). I assume the date of 1899 is incorrect, or this painting is a later copy of an original exhibited in 1980. Compare also this etch, made after this painting that was exhibited: 1899, Femme coiffée d’une feuille de chou (type de Niçoise), ps (made after his painting?), 52×39, A2017/04/25 (iR17;R158,no102;iR1).

SNBA-1890-282, Une Florentine (tête de femme voilée)
Clément-Janin (1922) mentioned it was made in 1869 (R158,p273). Maybe: 18xx, L’Italien, xx, MudO Beauvais (iR127;iR1;M171).

SNBA-1890-283, L’Enfant à la médaille.

SNBA-1890-284, Pouponne (étude de tête de petite fille)
Clément-Janin (1922) mentioned it was made in 1885 (R158,p273).

SNBA-1890-285, Portrait de M. Léonce Bénédite
Clément-Janin (1922) mentioned it was made in 1877 and in 1922 still in his possession (R158,p273). See also his print: 1877, Léonce Bénédite, print of an oil painting (R158,p111+273) .

SNBA-1890-1331, Une collection de cinq gravures en pointe-sèche, d’après les Fragonard de Grasse (Alpes-Maritimes).
Mentioned by Beraldi to be printed in red, in 1886 two were finished (probably exhibited as: SdAF-1886- 5052, Une gravure: La surprise, d’après Fragonard; and: SdAF-1886- 5053, Une gravure: Confidence, d’après Fragonard), the other 3 in preparation (R85V,p191).
In his 13th catalogue Beraldi also mentions 5 titles (no.163-167). So I assume Desboutin made 5 copies after Fragonard, but that in 1890 the SdAF-1886 titles were changed. Clément-Janin (1922=R158) also renders 5 etchings (reproductions no.9-13), but the titles sometimes are different:
no.163 / no.10: L’escalade ou le Rendez-vous (=!? 1884-87, Le rendez vous (L’escalade; after Fragonard), print of etch, 75×53?, xx (R158,p128 + repro no10;R85XIII,no163); note wrongly mentioned by Clément-Janin as La suprise. After: Fragonard, 1771-72, The progress of love, The Meeting, 318×244, Frick Pittsburg (iR6;M38).
no.164: La Poursuite / no.9 La surprise =!?1884-87, La poursuite (La surprise; after Fragonard), print of etch, 75×53?, xx (R158,p130, repro no9;R85XIII,no164); note: wrongly rendered by Clément-Janin as ‘Le rendez-vous’); I assume his no.9 ‘La surprise’ is the same as Beraldi’s no.164 ‘La poursuite’, in the rendered chase, there is an element of surprise. After: Fragonard, 1771-72ca, The progress of love, the pursuit, 318×216, Frick Pittsburg (M38). =!? SdAF-1886- 5052, Une gravure: La surprise, d’après Fragonard.
no.165 / no11: Les Souvenirs ou La confidence (=!? 1884-87, La Confidence ou les souvenirs (after Fragonard), ps, 75×51, BM London (iR105=M147;R158,repro no11;R85XIII,no165) =!? SdAF-1886- 5053, Une gravure: Confidence, d’après Fragonard. After Fragonard: 1771-72ca, The progress of love, love letters, 318×217, Frick Pittsburg (M38).
no.166 / no.12: L’Amant couronné =!? 1884-87, L’Amant couronné (after Fragonard), ps, 75×55, BM London (iR105=M147;R158,p134+repro no12;R85XIII,no166). After: Fragonard, 1771-72ca, The progress of love, the lover crowned, 318×243, Frick Pittsburg (M38).
no.167 / no13: L’Abandon =!? 1884-87, L’Abandon, ps, 75×51, BM London (iR105=M147;R158,p136+repro no13;R85XIII,no167). After: Fragonard, 1790-91ca, The progress of love, Rêverie, 318×198, Frick Pittsburg (M38).
Compare also: SNBA-1891-1044, Aquarelle d’après Fragonard. 

SNBA-1890-1332, Une gravure, d’après Rembrandt: le Portrait du professeur Tulp.
Compare: S1869-3952-1, Portrait du bourguemestre Six, d’après Rembrandt, eaux-forte.

SNBA-1890-1333, Une gravure, d’après Franz Hals : “La Flûtiste”
SNBA-1890-1334, Une gravure, d’après Franz Hals : “Le Flûtiste”
Note: Almost identical titles. Probably the first etch depicts a female flute player and the second a male player. Clément-Janin wrote (wrongly) that Desboutin exhibited 3 etchings after Frans Hals (R158,p150).

1891:
SNBA-1891-282, Portrait de Joséphin Péladan
Clément-Janin (1922) mentioned it was made in 1890 and in 1922 still owned by her (R158,p273). Now: 1890, SDbr, Portrait du Sâr Mérodack Joséphin Péladan, 121×81, MBA Angers (iR127;iR4;iR23;iR40;iR1;R158,p273;M18) = SRC-1893-78, Portrait du Sär Mérodack J. Péladan, grand-maître (de l’Ordre laïque) de la Rose + Croix du Temple et du Graal.

SNBA-1891-283, Etude
SNBA-1891-284, Etude
SNBA-1891-285, Etude
SNBA-1891-286, Etude

SNBA-1891-1044, Aquarelle d’après Fragonard
Compare: SdAF-1886- 5052, Une gravure: La surprise, d’après Fragonard; and: SdAF-1886- 5053, Une gravure: Confidence, d’après Fragonard) and: SNBA-1890-1331.

SNBA-1891-1385, Portrait de Michel de l’Hay (pointe sèche d’après nature)

SNBA-1891-1386, Quatre portraits et un cadre (pointes sèches d’après nature)
Maybe his etchings after portraits of Delacroix, Ingres (=r85XII,no168) and Couture.

1892:
SNBA-1892-330, Portrait de Mlle de G

SNBA-1892-331, Enfant Italien (tête d’étude)
Clément-Janin (1922) mentioned it was made in 1863 (R158,p273+259).

SNBA-1892-332, Portrait de l’ingénieur Ravel
Clément-Janin (1922) mentioned it was owned by Maurice Ravel in 1922 (R158,p273). Probably now: 1892 (1886-96), Pierre-Joseph Ravel (father of Maurice) , xx, xx (iR6;iR3;R158,p273) .

SNBA-1892-333, Portrait de l’auteur
SNBA-1892-334, Portrait de l’auteur
Note: two self-portraits. Clément-Janin (1922) mentioned the first was made of pastel and oil and in 1922 owned by the Musée de Moulins (R158,p273).

SNBA-1892-334(bis), Italienne florentine (étude)
Note: the numbers 329 and 335 belong to other artists, so I assume the last work should be no.334 bis. Clément-Janin (1922) mentioned it was made in 1869 (R158,p273).

1893:
SNBA-1893-328, Portrait de M. Bruant
Probably: 1893ca, Aristide Bruant, xx, MAB Moulins? (aR8;aR6). Clément-Janin (1922) adds ‘Aristide Bruant (reëxposé à la Centennale de 1900) and that it was made in 1892 (R158,p273+276). Probably this etch is made after the exhibited oil painting: 1895, Aristide Bruant, chansonnier, etch, xx, BNF Paris (iR40,btv1b105248489;iR1;R158,p273).

SNBA-1893-329, Portrait de M. Erik Satie
Clément-Janin mentioned it was owned in 1922 by (R158,p274). Probably: 18xx, Portrait of Erik Satie, 30×23, Honfleur MS (iR4;iR64;iR1;R158,p274;M19?).

SNBA-1893-330, Portrait de Mme F...
Clément-Janin mentioned it was owned in 1922 by Mme F (R158,p274).

SNBA-1893-331, Portrait de Mme B
Clément-Janin mentioned it was owned in 1922 by Mme B. (R158,p274).

SNBA-1893-332, Portrait de M. Maillard
Clément-Janin added Léon Maillard and mentioned it was owned in 1922 by L. Maillard (R158,p274). Compare this etch probably after this exhibited painting: 1894, Portrait of Leon Maillard, drypoint, 15×12 (19×14), A2013/12/07 (iR17;iR11;R158,no169;aR10,no114;iR1).

SNBA-1893-333, Portrait de M. Ponsard
Clément-Janin mentioned it was once owned by Ponsard (R158,p274).

SNBA-1893-334, Portrait de M. le comte de B
Clément-Janin mentioned it was owned in 1922 by Cte de B. (R158,p274).

SNBA-1893-335, Portrait de Mlle X

SNBA-1893-336, Portrait de Mme Desboutin.

SNBA-1893-337, Portrait de M. Lipman
Clément-Janin mentioned it was owned in 1922 by Lipmann (R158,p274).

1894:
SNBA-1894-372, Portrait de miss Maud Gonne
Clément-Janin mentioned it was owned in 1922 by Mac Bride (R158,p274).

SNBA-1894-373, Etude de femme.

SNBA-1894-374, Etude de femme au chat.
Clément-Janin mentioned it was made in 1891 (R158,p275).

SNBA-1894-375, Portrait de Mlle de B
Clément-Janin mentioned it was owned in 1922 by Mlle de B. (R158,p275).

SNBA-1894-376, Portrait d’Amilcar Cipriam.

1895:
Note: Clément-Janin wrongly mentioned that Desboutin didn’t exhibit at the ‘Salon’ (R158,p275)

SNBA-1895-1929, Portrait de M. Puvis de Chavannes
1895ca, Pierre Puvis de Chavannes, xx, Musée d’Amiens? (iR64;iR6;iR40;iR1;R158,p273+276) =!? EU-D-1900-?, Puvis de Chavannes (composition)

SNBA-1895-1930, Portrait de M. Landau.
Probably: 1893, Docteur Landau, print of an oil painting (R158,p175+274).

SNBA-1895-1931, “Pas du tout” (étude)
Desboutin made 2 etchings after this painting, a large one (R158,no172) and a smaller one: 1899ca, La Marguerite, petite planche, etch, 18×13, BNF Paris (aR10,no115;R158,no173;iR40) .

SNBA-1895-1932, Portrait de Mme Foulet

SNBA-1895-1933, Portrait de Mme Louis B

SNBA-1895-1938, Fumeur allumant sa pipe (pointe sèche)
Eng.: Smoker lighting his pipe. Maybe one of his self-portraits? Note: these last two works don’t connect in sequence with the previous 5. The artist, for these last two works, is just rendered as ‘Desboutin’.

SNBA-1895-1939, Portrait d’Aristide Bruant (pointe sèche)
Probably: 1895, Aristide Bruant, chansonnier, etch, xx, BNF Paris (iR40,btv1b105248489;iR1;R158,p273+276) Compare: SNBA-1893-328, Portrait de M. Bruant + EU-D-1900-?, Bruant

1896:
SNBA-1896-1684, Portrait de M. Alexandre Dumas fils (gravure en pointe sèche)
Probably: 1896, Dumas fils, écrivain, ps, 37×29, Gallery Paris (aR10,no74;R158,no84).
Note: According to the Salon database Desboutin exhibited just 1 etch (iR1). According to Clément-Janin (1922) Desboutin also exhibited (R158,p275):
SNBA-1896-hc1: Willette en Pierrot.
Maybe: 1896/05 (L’Artiste) Adolphe Léon Willette (1857-1926), etch, xx, xx (iR6;iR26;iR1).

SNBA-1896-hc2: Mlle X.

1897:
SNBA-1897-415, La dame au toutou
Maybe this etch represents this exhibited oil painting, made in 1876 (R158,no263): 1878ca, La Femme au toutou (Mme Desboutin), 12×8, A2019/07/21 (iR4;iR17;R158,no101;R85V,no3).

SNBA-1897-416, Une bannière d’honneur au carnaval de Nice (1897).

SNBA-1897-417, Portrait de l’auteur.
Clément-Janin mentioned it was in 1922 in the Musée du Luxembourg (R158,p275). The most works that first were at the Musée du Luxembourg are now in Musée d’Orsay. I could find 2 oil self-portraits that are in the Orsay. I render the one where is older: 18xx, Self-Portrait, xx, Orsay (iR127;iR1;M1). The other was made in 1874, I assume Clément-Janin would have mentioned that.

SNBA-1897-418, Portrait de M. Alfred Mortier
Clément-Janin mentioned it was owned in 1922 by Moriter (R158,p275).

SNBA-1897-419, Portrait de M. E. Fournières.

SNBA-1897-420, Portrait de M. P. Baudin
Clément-Janin mentioned it was owned in 1922 by Baudin (R158,p275).

SNBA-1897-1828, Portrait de l’auteur (gravure).
Note: the same title as no. 417.

SNBA-1897-1829, Femme au chat (gravure)

1898:
SNBA-1898-401, Marchand d’oignons de la Riviera
Clément-Janin mentioned it was owned in 1922 by the Town Hall of the 18th arrondissement in Paris (R158,p274). He sold it for 4000 francs to the Ville de Paris (R158,p162). Probably now: 1898ca, Le marchand d’oignons de la Riviera, 117×75, PP Paris (iR195;iR1;M4;R158,p275).

SNBA-1898-402, Une dame milanaise (étude en ovale)

SNBA-1898-403, Portrait de M. Maurice Barrès
Clément-Janin mentioned it was owned in 1922 by Maurice Barrès (R158,p276).

SNBA-1898-404, Portrait de M. B...

SNBA-1898-405, La poule au pot (nature morte)

SNBA-1898-1921, Portrait de l’auteur (pointe sèche)
Maybe: 1898, Self-Portrait (Pipe smoker with fur coat), ps, xx, xx (iR64;iR1), compare 1894, Desboutin à la fourrure (R158,p275)

SNBA-1898-1922, La marguerite; Pas du tout ! (pointe sèche)
Maybe: 1899, La Marguerite, petite planche, etch, xx, BNF Paris (iR40,btv1b105248165;iR1) =? 1886+1892, La Marguerite (Pas du tout!) (R158,p271+274)

1899:
SNBA-1899-481, L’homme orchestre
Clément-Janin mentioned it was made in 1897 (R158,p276). Compare the etch probably made after the exhibited oil painting: 1897, L’homme orchestra, etch, xx, xx (iR64;iR1;R158,p276) .

SNBA-1899-2165, Portrait du Dr B… (pointe sèche)

1901:
SNBA-1901-280, Un rémouleur
Clément-Janin mentioned it was made in 1885 and in 1922 owned by J. Desboutin (R158,p276).

SNBA-1901-281, Maternité.

SNBA-1901-282, Les premiers pas.
Compare: 2IE-1876-63, Les premiers pas

SNBA-1901-283, Portrait de l’auteur.
Maybe: 1900, SDbr, Self-portrait, 28×41, xx (iR10;iR1). I think because it was dated 1900, this work is a good possibility.

1902:
Note: Desboutin was deceased.

SNBA-1902-344, Lazzarone.

SNBA-1902-345, La chaise percée.

SNBA-1902-346, Enfant griffonnant.

SNBA-1902-347, Scène matinale.

SNBA-1902-348, L’enfant au chapeau blanc.
Maybe: 1882, Fillette au chapeau blanc aux rubans noir (R158,p268+65).

SNBA-1902-349, Tête de petite fille.

 

Marcellin-Gilbert Desboutin at the Exposition Universelle:

1889: Exposition Universelle oeuvre d’Art (R231/iR40):
EU-OdA-1889-2454, Une gravure, pointe sèche, Portrait de M. Desboutin
Desboutin received a 2nd class medal (R85XIII,p33). Clément-Janin makes clear it was ‘L’homme à la pipe’ (R158,p147).

1889: Exposition Centennale (=EU-C-1889) (R231/iR40):
EU-C-1889-283, Portrait de Léon Leclaire.

EU-C-1889-VII-141, Portrait de M. le comte Lepic, pointe sèche (app. à M. H. Béraldi)
Compare: S1877-4393, Une gravure à la pointe sèche: Portrait du comte L. Lepic (Voir Peinture)
There are two options: 1876, Portrait du Comte Lepic, etch ps, xx, BNF Paris (iR40;iR1); and: 1876, Portrait de Comte Lepic, etch grande planche 5e état, BNF Paris (iR40;iR6;iR195;iR1;R87,p239;R85V,no20).

1900: Exposition Décennale (=EU-D-1900)
According to Clément-Janin Desboutin exhibited 3 paintings at the Décennale of the Exposition Universelle (R158,p276), see below. But as I understand it, at the Décennale one could see art-works made the last decade and at the Centennale one could see paintings made from 1789-1889, which would mean that if ‘Mme C.’ is Mme Cornereau, which was made in 1876, it would have been exhibited at the Centennial, but I couldn’t find a notice about that in the catalogue (R231). This also would apply to ‘Puvis de Chavannes (composition)’ that according to Clément-Janin was made in 1876. It could have been exhibited at the Décennale if it was made around 1895 as other sources indicated. More sure is that Desboutin made an etch of Puvis de Chavannes in 1876.

EU-D-1900-?, Bruant
Earlier exhibited as SNBA-1893-328, Portrait de M. Bruant and according to Clément-Janin it was made in 1892 and in 1922 owned by J. Desboutin (R158,p274+276). Probably: 1893ca, Aristide Bruant, xx, MAB Moulins? (aR8;aR6). Compare this etch: 1895, Aristide Bruant, chansonnier, etch, xx, BNF Paris (iR40,btv1b105248489;iR1;R158,p273+276).

EU-D?-1900-?, Mme C.
According to Clément-Janin it was in 1922 in the Musée du Luxembourg (R158,p276). Probably: 1876, SDbr, Mme Cornereau, 46×38, Orsay (iR23;iR127;iR1;R158,p263+276;M1) =!? SdAF-1880-1120, Portrait de Mme C…

EU-D-1900-?, Puvis de Chavannes (composition)
According to Clément-Janin it was made in 1876 and in 1922 in the Musée d’Amiens (R158,p276). Probably: 1895ca, Pierre Puvis de Chavannes, xx, Musée d’Amiens? (iR64;iR6;iR40;iR1;R158,p273+276).

EU-1900-?, ‘Homme à la Pipe‘, pointe sèche.
Clément-Janin mentions that Desboutin exhibited at the Exposition (Universelle) the etch ‘Homme à la Pipe’ and that he received a medal of honor for it and that it earlier was exhibited as S1879-5638-1. “Mon portrait”, where he received a 3rd class medal for it (R158,p120).

Desboutin at the Salon de la Rose+Croix (=SRC):
Delacroix exhibited at the Salon de la Rose+Croix in 1892 and 1893.

1892: 
Desboutin, Marcellin, né à Cérilly (Allier), 9, cité Véron (iR1;iR40)

SRC-1892-50, Jeune Florentin.

SRC-1892-51, Une Florentine.

1893:
Desboutin (Marcellin) lived at 5, rue Bréda. Below the rendered picture Desboutin is called ‘Marquis’ and the title of the work is a bit different (iR40)

SRC-1893-78, Portrait du Sär Mérodack J. Péladan, grand-maître (de l’Ordre laïque) de la Rose + Croix du Temple et du Graal.
Now: 1890, SDbr, Portrait du Sâr Mérodack Joséphin Péladan, 121×81, MBA Angers (iR127;iR4;iR23;iR40;iR1;R158,p273;M18) =SNBA-1891-282, Portrait de Joséphin Péladan

 

Posthumous:

1910, D’après les maîtres, exhibition at Bernheim Jeune in Paris (aR3=iR261)
BJ-1910-74, La sortie de la compagnie du Wyk no 1, commandée par le capitaine Frans Banning Cocq. (Amsterdam)
Additional info: Vente Chéramy, à M. Dru.

1912, Sommaire des Peintures et Sculptures de l’École Contemporaine exposées dans les Galeries du Musée National du Luxembourg
L1912-162. Portrait de l’auteur
Additional info: painting, 31 x 23 cm
L1912-163. Portrait de Mme C
Additional info: painting, 47 x 37 cm

1912, Saint-Petersburg, Exhibition 100 Years of French Painting (1812-1912)
SP1912-175, Potrait de l’artiste
Additional info: oil painting at Beurdeley in Paris.

 

 

Recommanded citation: “Marcellin-Gilbert Desboutin, account of his exhibited art-works. Last modified 2022/08/03.  https://www.impressionism.nl/desboutin-account/