Introduction: At the 8 ‘impressionist’ expositions held from 1874-1886 in Paris there were many engravings exhibited. In total they were indicated by just ? catalogue numbers. But in reality many catalogue numbers contained several engravings. Mostly the engravings were done on a copper plate. Namely Lucien Pissarro also made woodcuts, which he exhibited in 1886. In 1874 38 engravings were exhibited, including 32 of Félix Bracquemond. In 1876 47 engravings were exhibited including many of Legros, Lepic and Desboutin. More info you will find at the bottom of this page.
In several expositions Degas showed monotypes. Often he reworked them with pastel, than I render them at the mixed techniques. Lepic also made monotypes.
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Félix Bracquemond, 1IE-1874-24-1, portrait de M Robert. Now: 1873, B94-4, Portrait of Louis Robert, administrateur de Sèvres, etch, 34×24, Metropolitan (iR6;R2,p119;R90II,p15R85,no94)
Félix Bracquemond, 1IE-1874-24-2, Portrait de M. Meyer Heine. Now: 1872, B80-2, Meyer-Heine, chef émailleur de la manufacture de Sèvres, etch, 35×26, NYPL (iR61;R2,p119;R90II,p15;R85,no80)
Félix Bracquemond, 1IE-1874-24-3, Portrait de M Hoschedé. Now: 1871, B63 Hoschedé, d’après nature, etch, 30×20, NYPL (iR61;iR10;R90II,p15;R2,p119;R85,no63).
Félix Bracquemond, 1IE-1874-24-4, Portrait de M Edwards. Now: 1872, B38, Edwin Edwards, etch, 16×15, BNF Paris (iR6;R73,p45;R2,p119;R90II,p15)
Félix Bracquemond, 1IE-1874-24-5, Portrait de M Aug Comte. Option 1: 1851, B22, portrait d’Auguste Comte, fondateur de la religion de l’humanité, etch, 19×14, VMFA Richmond (iR10;Mx;R85,no22;R52,p138-9;R2,p119;R90II,p16)
Félix Bracquemond, 1IE-1874-24-6, Portrait de M. Ch. Kean. Now: 1871, B66, Charles Kean, etch, 23×17, in 1884, Gazette des Beaux-Arts + 1891/04, L’Artiste (iR6;iR48;R2,p119;R90II,p16)
Félix Bracquemond, 1IE-1874-24-7, Portrait de M A Legros. Option 2: 1861, B73-1, Alphonse Legros, etch, 32×22, NSW Sydney (iR61;iR6;iR10;R85,no73;R90II,p16;R2,p119)
Félix Bracquemond, 1IE-1874-24-8, portrait de M Meryon. Option 1: 1853, B77, Charles Meryon, graveur, etch, 20×15, BNF Paris (iR61;R52,p35;R2,p119;R90II,p16;R85,no77)
Félix Bracquemond, 1IE-1874-24-9, portrait de Th. Gautier. Now: 1857, B49, Théophile Gautier, etch, 16×12, BM London (iR6;iR61;iR1;R52,p171;R2,p119;R90II,p16;R87,p231). Also S1859-3529.
Félix Bracquemond, 1IE-1874-24-10, Portrait de M. Th. Gautier (le Tombeau). Now: 1873, B50-4, Le tombeau de Théophile Gautier, etch, 35×26, NYPL (iR10;iR61;R2,p119;R90II,p16;R85,no50)
Félix Bracquemond, 1IE-1874-24-11, Portrait de M Baudelaire. Now:: 1861, B10, Charles Baudelaire (after his own drawing), etch, 35×26, NYPL (iR61;R87,p232;R2,p119;R90II,p17;R85,no10)
Félix Bracquemond, 1IE-1874-25-1, La Locomotive. Now: 1873, B336, Rain steam and speed (after Turner), etch, 22×26, Metropolitan (iR6;R2,p119;R90II,p17)
Félix Bracquemond, 1IE-1874-25-2, Le Lièvre, Now: 1872, B277, The Hare a Misty Morning (after A. de Balleroy), etch, 16×25, BNF Paris (iR10;R73,p39;R2,p119;R90II,p17)
Félix Bracquemond, 1IE-1874-25-3, Le Divan. Now: 1863, B279, Young Woman Reclining, in Spanish Costume (after Manet), etch, 30×42, Yale New Haven (iR10;iR135;R2,p119;R90II,p17;R87,p232)
Félix Bracquemond, 1IE-1874-25-4 Le Tournoi, d’après Rubens. Now: 1862-64, B274, A tournament (after Rubens), etch, 34×44, BM London (iR10;iR105;iR1;R2,p119;R90II,p17) =SdR1863-658 + S1864-2850.
Félix Bracquemond, 1IE-1874-25-5, La Source, d’après Ingres. Now: 1849-70ca, B275, The source (after Ingres), etch, 31×35, NYPL (iR61;R2,p119;R90II,p18)
Félix Bracquemond, 1IE-1874-25-6, La Servante, d’après Leys. Maybe: 1868, B280-4-1, The servant (after Leys), etch, 25×15, BM London (iR10;iR61;R2,p119;R85,no280)
Félix Bracquemond, 1IE-1874-26-1, Les Saules. Now: 1852-82, The willows of Mottiaux, etch, 20×30, NYPL (iR61;R90II,p18;R2,p119)
Félix Bracquemond, 1IE-1874-26-2, Les arbres de la manufacture à Sèvres. Maybe?: 1856ca, B123, Arbres dans le parc de Saint-Cloud (Trees in the Saint-Cloud park), etch, 16×21, xx (iR10;R52,p61;R2,p119;R90II,p4)
Félix Bracquemond, 1IE-1874-26-3, Les Charmes. Maybe??: 1853, B131, Deux gros troncs de charme devant un mur (Two large hornbeam trunks in front of a wall), etch, 34×45, NYPL (iR61;iR10;iR6;R85,no131;R52,p50)
Félix Bracquemond, 1IE-1874-26-4, Les Bouleaux = 18xx, B170, Les Boulaux (Birch trees), etch, 21×15, NYPL (R90II,p18+4;R185,no170;R2,p119)
Félix Bracquemond, 1IE-1874-26-5, La Montée de Bellevue. Now!?: 1873, B210, Le chemin de Bellevue et deux maisons de la rue Brongniar, à Sèvres (The Bellevue road and two houses in the rue Brongniar, in Sèvres), etch, 10×32, Virginia MFA (iR10;R2,p119;R90II,p18)
Félix Bracquemond, 1IE-1874-26-6, Le Mur. Now: 1868, B183, La Seine près de Passy (The Seine near Passy), etch ps, 24×31, BNF Paris (iR61;R73,p43;R2,p119;R90II,p19)
Félix Bracquemond, 1IE-1874-26-7, Les Bachots. Now: 1858ca, B161, Bachots au bord de la Seine (Boats on the banks of the Seine), drypoint etch, 25×35, BNF Paris (iR61;R52,p73;R73,p37;R2,p119;R90II,p18)
Félix Bracquemond, 1IE-1874-27-1, Le Chemin du parc = 18xx, B208, The road in the parc, etch, 22×23, BNF Paris (R90II,p19+5;R85,no208;R2,p119)
Félix Bracquemond, 1IE-1874-27-2, Frontispice pour les ‘Fleurs du mal’. Now: 1857, B378-1, frontispiece for Baudelaire’s Les Fleurs du Mal, etch xx, BNF Paris (R87,p231;iR6;R73,p37;R90II,p19;R2,p119)
Félix Bracquemond, 1IE-1874-27-3, Margot la critique. Now: 1854, B113, Margot la Critique, etch, 22×19, Metropolitan (iR6;iR10;iR1;R52,p86-8;R2,p119;R90II,p19) Also: S1855-4602.
Félix Bracquemond, 1IE-1874-27-4, Bois de Boulogne. Now: 1857, B158, Le Bois de Boulogne (les cascades, etch, 16×12 or 55×35, Metropolitan (iR6;R52,p65;R90II,p19;R2,p119)
Félix Bracquemond, 1IE-1874-27-5, La mort de matamore (Capitaine Fracasse). Now: 1852-82, B177, The death of Matamore (topic taken from Capitaine Fracasse), etch, 16×23, BNF Paris (iR61;R2,p119;R90II,p20)
Ludovic Lepic, 1IE-1874-78, L’Escalier du château d’Aix en Savoie = 1863, The staircase of the castle of Aix en Savoie, etch, 41×38, BNF Paris (R90II,p23+8;R2,p121) =!? intérieur de château (R85IX,p143,no3;iR26)
Ludovic Lepic, 1IE-1874-79, César, portrait de chien, eau-forte, =1861, César (le chien à la cravache), etch, 32×24, BNF Paris (iR313;iR35;iR6;iR40;R90II,p8+23;R87,p240;aR3,p89;R85IX,p143,no1)
Henri Rouart: 1891ca (1879-1901ca), View on the lighthouse of Collioure, etch, ?cm, xx (aR20;R2,p122+314). Compare: 1IE-1874-157+158, Eau-forte. Compare: 6IE-1881-131, Port d’Antibes
Henri Rouart, 18xx, xx (Two people in a wood), etch, xx, Nm Warsaw (aR20;R2,p122). Maybe: 1IE-1874-157+158, Eau-forte
Marcellin Desboutin: 2IE-1876-70-1, Portraits (gravure à la pointe sec) =!? 1876, Jules Jacquemart (detail), ps, 14×7 (or 16×12), FAM San Francisco (iR196=M30;iR11;iR105;R90II,p51+37;R2,p161;R85XIII,no92;R158,no141;aR10,no97)
Marcellin Desboutin: 2IE-1876-71-1, Portraits (gravure à la pointe sec) =!? 1876, Portrait de Norbert Gœneutte, etch ps, 24×16, Harvard Cambridge (iR6;R90II,p37+51;R2,p161;R85XIII,no47;aR10,no87;R158,no111;M32)
Marcellin Desboutin: 2IE-1876-71-2, Portraits (gravure à la pointe sec) =!? 1875, Henri Rouart, peintre et collectionneur, etch ps, 27×20, Metropolitan (iR10;M23;R90II,p37+51;R2,p161;R90I,p71;R85V,no25;R158,no215;aR10,no135). =!? S1875-3660-7, Portrait de M. Rouard (sic)
Marcellin Desboutin: 2IE-1876-72-2, Portraits (gravure à la pointe sec) =1875, Leroy, imprimeur d’eaux-fortes, etch ps 3rd, 30×21, BNF Paris (iR40;iR10;R85XIII,no63;R158,no165;R90II,p37+51;R2,p161;R90I,p71) Compare: 2IE-1876-72+hc, L’Imprimeur / vieux dilettante (R90I,p70+71)
Marcellin Desboutin: 1875, Alice Ritter (Mme A. Desgranges), etch 1st, 40×20, BNF Paris (iR40;iR105;aR10,no131;R158,no213;R90I,p71+99)
Marcellin Desboutin: 1875 (or 1873), Mme Camus, etch ps, 24×16, BNF Paris (iR40,btv1b105246958;R85XIII,no40;aR10,no49;R158,no33;R90I,p71+99). Compare: 2IE-1876-69-2, Portraits et études (gravure à la pointe sec)
Marcellin Desboutin: 1873, Princesse Colonna (born d’Affry; surnamed Marcello; detail), etch 2nd, 23×17, BNF Paris (iR40;aR10,no55;R158,no51;R85V,no14;R90I,p71+99;R2,p161) Compare: 2IE-1876-68-2, Portraits et études (gravure à la pointe sec) =!? S1877-4392-9, Portrait de Mme. la duchesse Colonna, gravure à la pointe sèche
Marcellin Desboutin: 1876, Rosine Bloch à l’Opéra (detail), etch, 12×8, BNF Paris (iR40,btv1b10524731c;R85V,p191;R85XIII,no134;R158,no189+p246;R90I,p71+99;R2,p161) Compare: 2IE-1876-69-1, Portraits et études (gravure à la pointe sec)
Alphonse Legros, 2IE-1876-81-1, Les baigneuses =!? 1861, CR69, Les baigneuses (the bathers), ps, 34×23, BNF Paris (iR40,btv1b10545519b;iR105;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-2, La procession =!? 1855-65, CR49, Procession dans une église espagnole, etch, 41×68, BNF Paris (iR40,btv1b10545660r;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-3, Ambulance =!? 1855-61, CR124, L’ambulance (Scène du coup d’état 1851/12/02), etch, 37×27, BNF Paris (iR40,btv1b525061570;R2,p162;iR105;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-4, Promenade (pointe sèche) =!? 1861ca, CR68, Le Promenade du convalescent, etch ps, 28×20, Cleveland MA (iR19;M27,1945.274;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-5, Tribunal =!? 1874-, CR123, Le Tribunal, etch ps, 21×30, BM London (iR105;M147;iR367;iR282;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-81-6, Cours de Médicine =? 1855-65, CR122, Le cours de phrénologie, no.2, etch, 24×32, BNF Paris (iR40,btv1b10545295q;iR105;R2,p162;R90II,p37+52)
Alphonse Legros, 2IE-1876-82, La morte (premier état avant la pointe sèche) =!? 1852-75, CR89, Death of a Vagabond, etch, 55×39, BM London (iR105;M147;iR19;M27;iR40;R2,p162;R90II,p38+53)
Alphonse Legros, 2IE-1876-83-1, Les vagabonds =? 1861, CR71, Les vagabonds de Montrouge (Mendiants aux environs de Paris), etch, 27×37, BNF Paris (iR40,btv1b10545547p;iR105;R2,p162;R90II,p38+53)
Alphonse Legros, 2IE-1876-83-2, La confrérie de la Sainte-Vierge =? 1860, CR50, The choir of a Spanish church, etch, 37×27, BM London (iR105;M147;iR367;iR199;R90II,p38+53;R2,p162). Compare: S1861-3793, Chantres espagnols, gravure
Alphonse Legros, 2IE-1876-83-3, près de la cheminée =!? 1855-61, CR116, Le foyer, etch, 23×16, BNF Paris (iR40,btv1b10545678r;R90II,p38+53;R2,p161)
Alphonse Legros, 2IE-1876-83-4, Paysage (pointe sèche) =? 1852-71, CR103, La ferme au grand arbre, ps, 32×26, BM London (iR105;M147;iR40;R90II,p38+54;R2,p162;aR9,p11) =? S1875-3734, Une eau-forte: La ferme au grand arbre (Appartient à M. P. Malassis)
Alphonse Legros, 2IE-1876-83-5-1, Deux lithographies =!? 1855, CR111, L’expérience d’électricité, etch, 17×29, BNF Paris (iR40,btv1b10545574k;R90II,p38+54;R90I,p71;R2,p162)
Alphonse Legros, 2IE-1876-83-6, Portrait de M. Barbey d’Aurevilly =!? 1877-, CR10, Portrait de M. J. Barbey d’Aurevilly, etch 2/2, 13×10, BM London (iR105;M147;iR40;R90II,p38+54;R90I,p105;R2,p162)
Alphonse Legros, 2IE-1876-84, Lutrin = !? 1852-77, CR62, Le lutrin no.2, etch, 25×24, BNF Paris (iR40,btv1b10545416m;iR105;iR1;R90II,p38+54;R2,p162) Compare: S1863-1155, Le lutrin and: S1868-1525, Un lutrin (Appartient à M. Jonides).
Alphonse Legros, 2IE-1876-85, Portrait de petite fille (pointe sèche) =!? 1875, CR30, La petite Marie (fille de l’artiste), ps, 23×17, BNF Paris (iR40,btv1b105455109;iR105;R2,p162;R90II,p38+54;aR9,p13;R85IX,no30) =!? S1875-3735, Une eau-forte: La petite Marie (Appartient à M. P. Malassis) =!? HD-1897/12/13-132bis-3, Portrait de la petite Marie
Alphonse Legros, 2IE-1876-86, Bonhomme misère. Option 3: 1869, CR140, La mort dans le piorier, etch, 23×15, Cleveland MA (iR19;M27,1921.1416;iR40;iR367;R90II,p38+54;R2,p162)
Alphonse Legros, 2IE-1876-87, Portrait de l’historien Carlysle (premier état). Option 2: 1875-77, CR34, Large Portrait of Thomas Carlyle, etch + aquatint, 44×34, Cleveland MA (iR6;iR40;M27;R90II,p38+55;R2,p162;R89,no21)
Alphonse Legros, 2IE-1876-88-1, Tête de vieillard (pointe sèche) =?? 1875-77, CR37, Etude de tête d’homme, de profil, ps, 21×16, BNF Paris (iR40,btv1b10545545s;iR105;R90II,p38+55;R2,p162)
Alphonse Legros, 2IE-1876-88-2, Femmes de Boulogne =!? 1873, CR80, Peasant Woman in the Neighbourhood of Boulogne, etch, 23×15, A2022/07/31 (iR17;iR19;M27;iR6;R90II,p39+55;R2,p162)
Alphonse Legros, 2IE-1876-89, Grand paysage, coup de vent =!? 1875-77, CR110, Le coup de vent, etch, 57×47, BNF Paris (iR40,btv1b10545317p;iR105;R90II,p38+55;R2,p162;aR9,p14;iR1) Compare: S1875-2482, Le coup de vent (Appartient à M. Malassis) (=drawing; aR9,p11)
Alphonse Legros, 2IE-1876-90, L’homme au mouton =!? 1855-77, CR86, Le mouton retrouvé, etch, 43×32, BNF Paris (iR40,btv1b10545399w;R90II,p39+55;R2,p162)
Alphonse Legros, 2IE-1876-91, La communion =!? 1861, CR54, La communion dans l’église Saint-Médard, etch 1st state, 36×27, BNF Paris (iR40,btv1b10545639j;iR105;R90II,p39+55;R2,p126)
Alphonse Legros, 2IE-1876-92, Paysage =? 1870, CR108, Landscape with Strawstacks, etch ps, 20×27, Cleveland MA (iR19;M27,1945.277;iR6;iR40;R90II,p39+92;R2,p162)
Ludovic Lepic: 2IE-1876-134, La Ballade des pendus, eau-forte =1869, Le verger du roi Louis, etch 1st state, 13×18, BNF Paris (iR40;R90II,p56+39;R2,p162;R85IX,p143,no3)
Ludovic Lepic: 2IE-1876-135-1, Croquis Hollandais (2 cadres eaux fortes) =? 1870-80, Winter in Holland (daytime), monotype, 32×49, RM Amsterdam (iR6;iR1;R2,p162;R90II,p38;R85IX,p143,no4;M77) =? S1870-5260, Vues de Hollande
Ludovic Lepic: 2IE-1876-135-2, Croquis Hollandais (2 cadres eaux fortes) =? 1870-80, Winter in Holland (sunset), monotype, 32×49, RM Amsterdam (iR6;iR1;R2,p162;R90II,p38;R85IX,p143,no4;M77) =? S1870-5260, Vues de Hollande
Ludovic Lepic: 2IE-1876-135-8, Croquis Hollandais (2 cadres eaux fortes) =? 1870ca (or 1876), Environs de Dordrecht, etch, 16×24, NGA Washington (iR6;iR40;iR1;R2,p162;R90II,p38;R85IX,p143,no4;M21) =? S1870-5260, Vues de Hollande)
Ludovic Lepic: 2IE-1876-136, Canal en Hollande, lever de lune (eau forte) =?? 18xx, Moonlit landscape with nets in the foreground, hanging from a tree, etch, xx, Orsay (iR127;iR1;R90II,p56+40;R2,p162;R85IX,p143,no4;M1;M5) cp S1872-1007, Filets étendus; aquarelle
Ludovic Lepic: 2IE-1876-137, Tête de chien, épreuve tirée sur plaque sans gravure = 18xx, Head of a dog (for J. Andrée), monotype, 30×28, Baltimore MA (R90II,p56+40;R2,p162;R85IX,p143,no1;M24)
Edgar Degas, 3IE-1877-59, Dessins faits à l’encre grasse et imprimés =?? 1876-77ca, Virginie Being Admired While the Marquis Cavalcanti Looks On, monotype, 16×12, NGA Washington (M21;iR8;R2,p204;R90II,p74)
Edgar Degas, 3IE-1877-60, Dessins faits à l’encre grasse et imprimés =?? 1876-77ca, Pauline and Virginie Cardinal conversing with admirers, monotype, 21×16, Harvard Cambridge (iR10;iR91;iR11;R2,p204;R90II,p74;M32)
Account: The suggestions are often quite certain. Of one picture the artist mostly made a few states and several prints of one state. So, it is more likely that at least one print has been preserved. At an early stage engravings were catalogued by Beraldi (from 1885-92 =R85) and Delteil (1906 onwards =R138). All this makes identification more easy.
In 1874 there were many engravings exhibited, namely by Félix Bracquemond: 32x (nos.24-28). Lepic showed 3 etchings (no.78-80). Léon Ottin showed 1 lithogrape (no.133). Rouart showed 2 etchings (no.157+158). So in total there were probably 38 engravings exhibited, about 17% of the total amount of 224 art-works.
In 1876 there were many engravings exhibited. Desboutin showed at least 12 engravings, all dry points. Maybe all the 25 art-works of Legros were engravings, with the numbers 81-4 +82 +83-4 +85 +88-1 being dry points and no. 83-5 containing two lithographes. Lepic showed at least 6 and probably 10 etchings. So in total there were probably 47 engravings exhibited, about 16% of the total amount of art-works.
In 1877 it is curious that not one etching was exhibited, while in 1874 and 1876 many were exhibited. Degas exhibited several monotypes. Two were (hardly) reworked, which I count as engraving. The others were reworked with pastel, therefore I count them at the mixed techniques.
