Giuseppe de Nittis, account

Impressionism, a historical reconstruction:

Giuseppe de Nittis

(1846-1884)

Account

of his exhibited works

 

 

Introduction:
On this page you will find an account of the works that Joseph de Nittis has exhibited at the 1st ‘impressionist’ exposition in 1974 (=1IE-1974), at the Salon (=S) from 1869-79, it’s successor the Salon de la Société des Artistes Français in 1884 (=SdAF-1884), the Exposition Universelle in 1878 (=EU1878), at Georges Petit (=GP), the Musée du Luxembourg in 1912 (=MdL1912) and in Venice in 1914 (=Venice1914). For general info on Giuseppe de Nittis and the used sources see the main page. See the link for the pictures exhibited in 1874 and the ones at the Salon and other exhibitions.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 115-118bis
  • no. 118 consisted of 2 or more studies of women; I assume 3
  • so in total Joseph de Nittis exhibited at least 6 works, I assume 7, all oil paintings
    • 4x indication of place
    • 1x indication of time, season or weather
    • 2x a study
    • 0x loans (appartient à…).
  • See for the suggestions of Moffett (R2,p122) and of Dayez / Adhémar (R87,p247) and Berson (R90II,p11).
  • Moffett refers to: Piceni, Enrico: De Nittis, L’uomo e l’opera. Busto Arsizio: Bramante, 1979 (R2,p503).

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)
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)

1874 catalogue: (R2,p122;R90I,p7;iR1;R87,p247)

1IE-1874-115, Paysage près de Blois
Adhémar, Moffett and Berson don’t give a suggestion. Blois lies about 183km south of Paris, see map. Maybe another location was meant. Berson refers to the review in Le Père Siffleur (R90II,p11), who just mentions the tittle, miswriting de Nittis as ‘de Nillis’ (R90I,p38). An unknown critic wrote about ‘his 4 views of Naples’, which could mean that this work was also made near Naples (R1,p340;aR2). Adler suggests it was a ‘French painting of the area around Blois’ (R89,p95). I don’t have a suggestion.

1IE-1874-116, Lever de lune, Vésuve
Adhémar, Moffett and Berson don’t give a suggestion. Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27). Giuseppe de Nittis made in 1871-72 about 70 small studies (on panel) of the Vesuvius (iR8). To compare I render: Compare: 18xx, Sunrise on Vesuvius, on panel, 14×23, A2008/11/08 (iR13;iR10;R2,p122).

1IE-1874-117, Campagne du Vésuve
According to Moffett: for no. 117 or 118bis: perhaps Piceni 19, private collection in Milan (R2). Adhémar suggests Campagne du Vésuve in a private collection (R87,p247). Berson remarks on this suggestion that it is ‘one of de Nittis’s many versions of this subject’ and leaves the work unidentified (R90II,p11). Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27). I render next to the suggestion of Adhémar 4 other uncertain options: 18xx, Campagna vesuviana (Vesuvian countryside), 18×32, private (iR2;R2,p122); and: 1872ca, Study of the Vesuvius 4, on panel, 13×18, GAM Milan (iR8;R2,p122;M107); and: 1872ca, Study of the Vesuvius 2, on panel, 9×18, GAM Milan (iR8;R2,p122;M107); and: 1873, CR437, SDbr, Return from Mount Vesuvius, on board, 19×32, A2009/06/09 (HW;iR14;iR11;R277,no437;R2,p122), this last work is more finished.

1IE-1874-118, études de femme
Adhémar, Moffett and Berson don’t give a suggestion. Berson leaves out this work, which means there were no reviews (R90II,p11). Note: Adler suggests that no.118 consisted of 1 work ‘Studies of a woman’ (R89,p95), but I assume that this catalogue number consisted of 2 or more studies of women. I assume it were 3 and render 3 all uncertain options: 18xx, Portrait of a young woman (Testa di donna con frangetta), 61×46, A2001/06/06 (iR13;iR11;R2,p122); and: 18xx, Testa femminile di profilo, con cappellino (Female head in profile, with cap), 55×46, A2016/04/25 (iR11;iR10;R2,p122); 18xx, Léontine (de Nittis), on panel, 41×27, A2010/11/16 (iR14;iR11;R2,p122).

1IE-1874-118bis, Route en Italie
According to Moffett: for no. 117 or 118bis: perhaps Piceni 19, private collection in Milan (R2). Adhémar suggests Route en Italie in a private collection (R87,p247). Berson makes clear that these suggestions are the same, the Italian name being ‘Strada in Italia’, but she leaves this work unidentified (R90II,p11). Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27). I render next to the suggestion of Adhémar 4 other uncertain options: 1870, CR281, Along the Ofanto river, 43×65, PGdN Barletta (iR6;iR2;iR35;R2,p122;R277,no281; =? Venice1914-7, On the banks of the Ofanto (Florence) (aR5=iR261); and: 1872ca, Study of the Vesuvius, on panel, 9×18, GAM Milan (iR8;R2,p122;M107); and: 18xx, Strada di Puglia (Road of Apulia), 24×40, A2018/05/16 (iR11;iR10;R2,p122); 1867 (or 1864), La traversée des Apennins (la traversata degli Appennini), 41×76, MGNC Napels (iR6;iR41;iR70;R2,p122; =? Venice1914-19, Across the Apennines (aR5=iR261), the lost work is more finished.

 

Joseph de Nittis at the Salon:
The Salon database indicates that Joseph de Nittis was born in Barletta (Italie). Still in the catalogue of the Salon of 1869 it is indicated that he was born in Naples. In 1884 he is called Joseph-Gaetan de Nittis. He was a pupil of Gérôme. In 1879+1884 he exhibited hors concours.

 

S1869-1810, Une visite chez l’antiquaire
I couldn’t find a suggestion that comes close. De Nittis himself described it as ‘I had painted figures in costume, in the school of Meissonier, a genre that I tried, without conviction.’ (aR8,p31). One sources calls it a ‘costume picture’ (aR7,p122). To compare I render a watercolour with a similar scene: 1869ca, Examining art objects, wc, 27×35, Axx (iR14;iR1;aR7;aR8,p31).

S1869-1811, Une forêt de la Pouille (Italie) .
Eng.: A forest in Apulia. Apulia is a region in the south of Italy, see map. I couldn’t find a suggestion that comes close. One source suggests ‘The passing train’ was exhibited, describing that it ‘represented horses scampering away frightened by the passing of a train whose end lanterns are seen disappearing along the track in a wood’ (aR7,p122).

S1870-2101, La femme aux perroquets
Additional info: (Appartient à M. Hoschedé). Probably: 1869ca, Lady with Parrots, xx, private, (iR2).

S1870-2102, Une réception intime
Eng.: A private reception. I haven’t found a suggestion.

S1870-3861, Arabe; dessin
S1870-3862, Arabe; dessin
De Nittis made at least two pictures each depicting one arab man (or woman). I render to compare a drawing depicting two arab musicians: 18xx, Musiciens arabes, dr, 23×18, A1996/02/28 (iR13); and a watercolour depicting an arab woman while walking through a gate: 18xx, Promeneuse sous l’Arcade, wc, 43×36, A1991/04/08 (iR13).

S1872-1177, Route de Naples à Brindisi (Italie)
The following work has the same title: 1872, CR298, La route de (Naples à) Brindisi, on wood, 9×18, A2016/10/18 (iR13;iR11;iR10). But looking at the size and the very sketchy drawing I doubt it would ever have been accepted for the Salon. To compare I render another more finished work: 1872, CR344, The road from Brindisi to Barletta, 27×52, Indianapolis MA (iR6;iR2;iR10). The Art Amateur (1884) called this work ‘The Pouillets road near Brindisi’ (aR7,p122).

S1873-1114, Les cratères du Vésuve avant l’éruption de 1872
Eng.: The craters of Vesuvius before the eruption of 1872. See number 1115. As an uncertain option I render: 1872, CR418, Vesuvius eruption of 1872, 76×128, A2014/12/09 (iR6;iR2;iR11;iR94;iR1;R264,p183/4;R277,no418). Many other works he made of (the éruption of) the Vesuvius are just small sketches, not likely to have been exhibited at the Salon.

S1873-1115, La descente du Vésuve.
Eng.: Descending Mount Vesuvius. Two options: 1872, Vesuvius eruption of 1872, the rain of ashes, xx, xx (iR6) or: 1873 (HW), Return from Mount Vesuvius (Ritorno dal Vesuvio), 19×32, A2009/06/09 (iR11).
Claretie called these works ‘anecdotal landscape’. He reviewed ‘It is necessary to see the tourists going up in the steam of the craters, putting the foot on grounds with strange colours: yellow, sulphurous or green. All this must be accurate, studied and painted on the spot. The fat Englishman who descends from Vesuvius in the second painting does not pay attention to the vast horizon that the Gulf of Naples unfolds, in the distance, before him; he is quite wrong. This horizon is superb. M. de Nittis has rendered, with a liveliness of colour quite happy, the reflections of the setting sun on the waves that make the sea incandescent. At the bottom of the horizon, the island of Capri vaguely draws its silhouette, where one seems to always see the shadow of Tiberius. I do not hesitate to place this small painting by M. de Nittis among the most curious and best landscapes of this year’s Salon.’ (R264,p183/4). Now: 1872ca, Descending from the Vesuvius, 30×55, private (aR1;iR1;R264,p183-4).

S1874-1394, Dans les blés
Eng.: In the corn. Very uncertain options are: 18xx, A shepherd in a field (at Nivière), 15×23, A2014/04/01 (iR15;iR11); or: 18xx, In the Fields around London, 45×55, private (iR35;iR2;iR10).

S1874-1395, “Fait-il froid ! ! !”
Now probably: 1874ca, CR484, Che Freddo! (Freezing!), 54×73, AAC Milan (iR2;iR6;iR35). Claretie reviewed ‘adorable cold blooded running, the nose in their furs, at the edge of the Lake’ (R264,p256). Note: Monneret suggests this was the only work exhibited and two other works were rejected: ‘En conduisant au bois‘ (Eng.: When leading to the wood) and ‘Au milieu des épis’ (1873, Ferrari collection Milan; Eng.: In the middle of the ears of corn). She describes the last work as a ‘Very impressionistic composition where wheat and poppies are treated in coloured vibrations.’ (R88I,p193). This description could fit the suggestions I rendered for no.1394, Dans les blés.

S1875-1544, Place de la Concorde .
Claretie reviewed ‘M. de Nittis did even better with the Place de la Concorde. It is a jewel that this view of a corner of the immense square, a winter day, of frost, I was going to say of ice. The characters are sketched and painted here with infinite suppleness and a fine, elegant and colourful touch. One would think that this painting is going to come to life so much the figures are alive. The fat lady with the fur-lined coat, who advances with precaution, the pretty young woman in a gray dress who moves away on the arm of her husband dressed in the ulster formerly in fashion, the child’s maid who crosses the square, are all excellent figures. The colorist of race is recognized with the lively touches which animate this painting of a silver tint, with the yellow awakenings of the omnibus cars or fabrics. A small marvel of execution is the water falling and bouncing in the shiny basin of the fountain. The bronze tritons are really wet by the incessant spurting of the jets. M. de Nittis has never done better and, whatever the skill of those who, like M. Tissot in London, try to follow in his footsteps, it is no less true that the author of this Place de la Concorde will have found, the first, in today’s painting, a personal style, a new corner, an accent of elegant moderation that one had not had, before him, in such a degree.’ (R264,p328/9). To compare I render an etch depicting the same scene: 1875, Place de la Concorde on a rainy day, etch, 21×30, Carnavalet (iR195;R264,p328;iR1;iR10). To compare I also render a painting made a bit later: 1880, SDbr, (A corner of the) Place de la Concorde, 44×52, PZS Naples (iR10;iR167;iR94;iR6).

S1875-1545, A Bougival (Seine-et-Oise) .
Bougival lies 20km west of Paris, see map. An uncertain option: 18xx, La Grenouillère, xx, private, (iR2). La Grénouillère lies on the Island Île de la Chaussée, which is part of Bougival.
Claretie reviewed ‘Is it possible to put more grace than in the painting entitled Bougival? A young blonde woman, seductive, lets her boat go with the current of the water, under the large shady trees of the bank, while she protects herself from the sun with a parasol on which the rays strike. It took all the skill of M. de Nittis’ brush to render the transparency of the white dress through which, under the young woman’s left arm, the sun appears bright and as if playing. The gloomy depth of the water that renders the reflection of the green leaves, the infinity of the horizon of this bank of Bougival of which one sees the hillsides and the villas, everything here is rendered with an absolutely individual skill and a charming and spiritual poetry. It is really the work of a painter. This landscape of Seine-et-Oise is worthy of framing the smiling Parisian woman who sits in the boat and goes away dreaming.’ (R264,p327/8). the next work fits the decription of Claretie, but it is dated one year later: 1876, SDbl, In canotto (in a canoe), 54×73, Axx (iR10;iR13;R264,p327). Maybe he reworked the painting and than dated it or this is a copy of the one he exhibited at the Salon.

S1876-1543, Sur la route de Castellamare
Additional info: (Appartient à M. Botkine). Eng.: On the road to Castellamare. Google maps gives several options for Castellamare. In the Gazette des Beaux Arts there was an etch rendered after this painting: 1876ca, Route de Castellammare, etch in Gazette des Beaux Arts 1876, 10×13, PP Paris (iR195;iR10;iR13).

S1876-1544, Place des Pyramides .
Now: 1875-76, CR611, Place des Pyramides, 92×75, Orsay (iR2;iR36;iR6;iR10). =!? EU-1878-Italie-55, Place des Pyramides. De Nittis bought it back from Goupil in 1883 and gave it to the state (R88I,p193).

S1877-1598, Paris, vu du Pont-Royal .
Additional info: (Voir Dessins). See link for the location of the Pont-Royal in Paris (iR9). =!? EU-1878-Italie-65, Paris vu du pont Royal. See comment over there.

S1877-3210, Le boulevard Haussmann; aquarelle
Additional info: (Voir Peinture). See link for the location of the Boulevard Haussmann in Paris (iR9). Probably: 18xx, Boulevard Haussmann, wc, 31×41, A2009/11/25 (iR13;iR10).

S1877-3211, La place Saint-Augustin; aquarelle
See link for the location of the Place Saint-Augustin in Paris (iR9) and more info and pictures (iR4). I couldn’t find a suggestion.

Note: in the first booklet of the Salon of 1876 or 1877 there was a title of a painting attributed to De Nittis that didn’t exist; later on it was corrected (aR8,p172/3).

S1878-1679, Coin de boulevard
Additional info: (Voir Dessins). Eng.: Corner of a boulevard. As a very uncertain option I render: 1880ca, Le Parfumier, 41×33, Carnavalet (iR195;iR2), the location in this work lies on the corner of two roads / boulevards.

S1878-3549, Au bois de Boulogne; pastel
Compare: EU-1878-Italie-64, Avenue du bois de Boulogne.

S1878-3550, Arc de triomphe; aquarelle
Additional info: (Voir Peinture). Probably now: 1876ca, CR610, Arc de Triomph, wc g, 37×53, A2019/12/12 (iR15;iR195).

S1879-2248, Une marchande d’allumettes dans la City (Londres)
Eng.: A match seller in the City (London). Compare an etch made after this painting: 1877, Une marchande d’allumettes à Londres, etch in Gazette des Beaux-Arts 1884, xx, PP Paris (iR195).

SdAF-1884-1807, Le déjeuner
I render two options, I guess the first is more likely: 1883-84ca, Breakfast in the Garden (Colarione in giardino), 81×117, GGdN Barletta (iR6;iR2;iR35;R3,p540) or: 1879ca, Lunch in Posillipo (Naples), 109×173, GAM Milan (iR6;iR8), this last work is older and seems less finished.

SdAF-1884-1808, La gardeuse d’oies
Eng.: The goose keeper. Probably: 1884, SDbr, The geese shepherd, 81×65, PP Paris (iR195).

SdAF-1884-3052, Fleurs d’automne; pastel
Compare: Feuilles d’Automne, colour print after de Nittis, 66×46, Carnavalet (iR195). Compare also another pastel with a bit the same theme: 1882, The lady with the ulster, xx, private (iR6;iR10;iR48).

 

Joseph de Nittis at the Exposition Universelle:
12 Works of Giuseppe de Nittis were exhitibed at the Italien section of the Exposition Universelle of 1878.

EU-1878-Italie-54, Green park (Londres).
I don’t have a suggestion.

EU-1878-Italie-55, Place des Pyramides.
=!? S1876-1544, Place des Pyramides = 1875, CR611, Place des Pyramides, 92×75, Orsay (iR2;iR36;iR6;iR1;R231;R277,no611;M1)

EU-1878-Italie-56, Route de Brindisi.
Compare: S1872-1177, Route de Naples à Brindisi (Italie). Maybe: 1872, CR344, The road from Brindisi to Barletta, 27×52, Indianapolis MA (iR6;iR2;iR10;iR1;R277,no344;M165).

EU-1878-Italie-57, National Gallery.
Maybe; 1878ca, The National Gallery and the church of Saint-Martin in London, 71×106, PP Paris (iR195;iR127;R231;M4).

EU-1878-Italie-58, Westminster.
Giuseppe de Nittis made several pictures of Westminster. I render as an uncertain option: 1878, Westminster, 110×192, private (iR2;iR6;iR10;R231). This work is larger and more finished than many other paintings De Nittis made of the Westminster (R88I,p193). The drawing after ‘a study by Joseph de Nittis for his picture in the Paris exposition of 1878 ‘ rendered in the Art Amateur of 1884, also suggests this work or one similar depicting pipe smoking men (aR7,p122). The Art Amateur also described ‘his Westminister Bridge in a fog’ (aR7,p122).

EU-1878-Italie-59, Trafalgar square.
I render two options: =? 1878ca, CR726, Trafalgar Square, 103×90, private (iR376;iR10;iR167;R231); and: =?? 1878ca, (View on) Trafalgar Square, 41×49, MPP Paris (iR10;iR167;iR2;R8,p245;R231;M4).  The first one is larger and more finished, so I think that one is a better option.

EU-1878-Italie-60, Retour des courses du bois de Boulogne.
Maybe: 1875, Return from the Races, 56×114, Philadelphia MA (iR2;R231;M28).

EU-1878-Italie-61, Bank of England
I don’t have a suggestion.

EU-1878-Italie-62, Canon Bridge
The Canon bridge lies in London. I don’t have a suggestion.

EU-1878-Italie-63, Piccadilly
Maybe: 1875, SDbl, Piccadilly (Winter day in London), 69×104, private (iR2;iR167;iR10;R231). Earlier exhibited in 1876 at the ‘Cercle de L’union artistique’ and soled by Goupil for 54.000 francs (R88I,p193) and later (before 1884) resold for 60.000 francs (aR7,p122).

EU-1878-Italie-64, Avenue du bois de Boulogne
=? 1874, SDbl, Avenue de Bois du Boulogne, 32×42, A2008/11/12 (iR2;iR14;iR6;iR35;iR11;R231).

EU-1878-Italie-65, Paris vu du pont Royal
=!? S1877-1598, Paris, vu du Pont-Royal. Getty images suggests an etch (made after the painting exhibited): 1877ca, Le Pont Neuf, etch  (iR10;iR139). The picture depicts a view on the former Pont du Caroussel, also named Pont du Saint-Pièrre, with the typical circles in the construction. (iR4) When it was viewed from the Pont Neuf as the title suggests, then one would see first the Pont des Arts and behind it the Pont du Caroussel. So, it is more likely that the Pond du Caroussel was viewed from the Quai Voltaire and the start of the Pont Royal (iR9). In that case, it could be a solid suggestion, but than the title is not correct.

 

 

Joseph de Nittis at Georges Petit:
1883, 2nd exposition International (iR40)
Catalogue page 16+17: Italie, De Nittis, Paris, 3bis, rue Viette

GP1883-1, Une Parisienne (Pastel)

GP1883-2, La femme au manteau de fourrure (pastel)
Compare: 18xx, CR797, Large portrait of a lady with fur, 102×52, Axx (iR14;R277,no797;iR40)

GP1883-3, Fleurs.

GP1883-4, Pivoines.

GP1883-5, Plaines de Touraine.

GP1883-6, Charmilles.

GP1883-7, Cathédrale de Tours.

GP1883-8, Un thé.

GP1883-9, Vue du Pont-Royale (Crépuscule).

GP1883-10, Ruines des Tuileries
=? 1882, The Place de Carousel and the Ruins of the Tuileries Palace, 45×60, Louvre (iR2;iR6;iR35;iR40;aR5=iR261;M1)

GP1883-11, Une journée de novembre à Londres.

GP1883-12, Femme blonde.

 

1885, Georges Petit, exposition des Pastellistes 1 (iR40)
De Nittis (J.), catalogue pages 72-75

GP-1885-EdP1-187, Portrait de Mme C.; appartient à Mme Camus

GP-1885-EdP1-188, Les premiers Bourgeons aux Tuileries; appartient à M.C.G.

GP-1885-EdP1-189, Bouquet de roses; appartient à M. C. G.

GP-1885-EdP1-190, Bouquet de Fleurs; appartient à Mme J. Claretie

GP-1885-EdP1-191, Le Tour du lac; appartient à M. de Cavaglion

GP-1885-EdP1-192, L’Ulster; appartient à M. de Cavaglion
Compare: 1882, The lady with the ulster, xx, private (iR6;iR10;iR48;iR1;iR40). Compare: SdAF-1884-3052, Fleurs d’automne; pastel

GP-1885-EdP1-193, Femme en costume noir; appartient à M. Alexandre Dumas
Compare: 1878ca, La dame en noir (HW: study), 35×25, A2016/10/18 (iR11;iR40).

GP-1885-EdP1-194, Bouquet de fleurs; appartient à M. Alexandre Dumas

GP-1885-EdP1-195, L’Avenue du Bois de Boulogne; appartient à M. Alexandre Dumas
compare: EU-1878-Italie-64, Avenue du bois de Boulogne =? 1874, SDbl, Avenue de Bois du Boulogne, 32×42, A2008/11/12 (iR2;iR14;iR6;iR35;iR11;R231)

GP-1885-EdP1-196, Tribunes de Longchamps; appartient à Mme de Nittis
=? 1881-84ca, The Bois de Boulogne races, In the grandstand (nella tribuna), 107×55?, GAM Rome (iR6;iR8;R16,p248;iR40)

 

1885, Georges Petit, exposition des Pastellistes 2 (iR40)
De Nittis (J.), catalogue pages 76-78

GP-1885-EdP2-197, Tribunes d’Auteuil; appartient à Mme de Nittis
=? 1881-84ca, The Bois de Boulogne races, In the grandstand (nella tribuna), 107×55?, GAM Rome (iR6;iR8;R16,p248;iR40)

GP-1885-EdP2-198, Autour du brasero; appartient à Mme de Nittis

GP-1885-EdP2-199, Femme en noir assise; appartient à Mme de Nittis

GP-1885-EdP2-200, Derrière la jalousie; appartient à Mme de Nittis

GP-1885-EdP2-201, Femme appuyée sur une chaise; appartient à M. Houseal
Eng.: Woman leaning on a chair.

GP-1885-EdP2-202, Le Printemps

GP-1885-EdP2-203, La place de la Concorde; appartient à Mme de Nittis
On the Place de la Concorde one can also view the Egyptian Obelisque. =? 1880, SDbr, (A corner of the) Place de la Concorde, 44×52, PZS Naples (iR10;iR167;iR94;iR6;iR1)

 

Giuseppe de Nittis at the 9th Art exhibition in Venice in 1914:
XI. Esposizione d’Arte della Città di Venezia. In room 37-38 Giuseppe de Nittis exhibited 90 works; 86 catalogue numbers, of which no.71+72 contained 3 works.

Venice1914-1. Ritratto della signora Leontina de Nittis, pastel  (Città di Barletta)
=?  1882, CR877, Winter Day (Portrait of Leontine; Giornata d’inverno), pastel, 150×89, PGdN Barletta (iR2;iR10;iR167;aR5=iR261;aR13)

Venice1914-2. Il treno che passa (Città di Barletta)
=!? 1869, The passing train, 75×130, PGdN Barletta (R89,p98;aR5=iR261;aR13)

Venice1914-3. Colazione in giardino (Città di Barletta)
=!? 1883-84ca, Breakfast in the Garden (Colarione in giardino), 81×117, GGdN Barletta (iR6;iR2;iR35;iR1;R3,p540;aR13) =? SdAF-1884-1807, Le déjeuner

Venice1914-4. Salotto della Principessa Matilde Bonaparte (Città di Barletta)
=!? 1883, The living room of Princess Mathilde, 73×91, PGdN Barletta (iR2;iR6;aR5=iR261;aR13)

Venice1914-5. Le corse ad Auteuil (trittico), pastel  (Galleria Nazionale d’Arte Moderna di Roma, Rome)
=!? 1881-84ca, The Bois de Boulogne races (Triptych), pastel, 107×220(?), GNMA Rome (iR6;iR8;aR5=iR261)

Venice1914-6. Strada fra Barletta e Brindisi (Sig. A. A. Anderson di New York)
? 1872, CR344, The road from Brindisi to Barletta, 27×52, Indianapolis MA (iR6;iR2;iR10;iR1;R277,no344;M165)

Venice1914-7. Sulle rive dell’Ofanto (R. Galleria dell’Accademia di Firenze, Florence)
=? 1870, CR281, Along the Ofanto river, 43×65, PGdN Barletta (iR6;iR2;iR35;R2,p122;R277,no281)

Venice1914-8. Accanto al Tamigi (signora Amelia Gerli di Londra, London)
Eng.: Beside the Thames.

Venice1914-9. Vecchio giardino (sig. H. Vever di Parigi, Paris)
Eng.: Old Garden

Venice1914-10. Viale dei carpini (sig. H. Vever di Parigi, Paris)
Eng.: Hornbeam Avenue

Venice1914-11. Fiori d’autunno, pastel
Eng.: Autumn flowers, pastel. =? SdAF-1884-3052, Fleurs d’automne; pastel. Compare: 18xx, Feuilles d’Automne, colour print after de Nittis (detail), 66×46, Carnavalet Paris (iR195;iR1;M8).

Venice1914-12. Pranzo a Posillipo (Signora Lapauze di Parigi, Paris)
=!? 1879ca, Lunch in Posillipo (Naples), 109×173, GAM Milan (iR6;iR8;iR1;M107) =?? SdAF-1884-1807, Le déjeuner

Venice1914-13. Ora tranquilla
Eng.: Quiet hour

Venice1914-14. Sul lago dei Quattro Cantoni (Ugo Ojetti)
Eng.: On Lake Lucerne

Venice1914-15. Nell’amaca (Ugo Ojetti)
=? 1884, In the Hammock, xx, private (iR2;aR5-iR261)

Venice1914-16. In un palco dell “Opéra” a Parigi, pastel
Eng.: In a box at the “Opéra” in Paris, pastel

Venice1914-17. Gaby

Venice1914-18. Le corse di Longchamps (G. Bernheim di Parigi, Paris)
=? 1883, The Races at Longchamps from the Grandstand, 99×122, private (iR2;aR5=iR261)

Venice1914-19. Attraverso gli Appennini (S. M. il Re d’Italia)
=? 1867 (or 1864), La traversée des Apennins (la traversata degli Appennini), 41×76, MGNC Napels (iR6;iR41;iR70;R2,p122)

Venice1914-20. La “National Gallery” a Londra (François Flemeng di Parigi, Paris)
=? 1878ca, The National Gallery and the church of Saint-Martin in London, 71×106, PP Paris (iR195;iR127;R231;M4) =? EU-1878-Italie-57, National Gallery

Venice1914-21. La piazza delle Piramidi a Parigi (Museo del Lussemburgo di Parigi, Paris)
= 1875, CR611, Place des Pyramides, 92×75, Orsay (iR2;iR36;iR6;iR1;R231;R277,no611;M1) =S1876-1544 (-> 1st class medal) =EU1878-Italie-55 (-> 1st class medal + Chevalier LdH) =!? MdL-1912-664 (aR5=iR261)

Venice1914-22. La signora del cane
Eng.: The Dog Lady

Venice1914-23. Il “bow window”, pastel
Eng.: The bow window, pastel

Venice1914-24. Ritratto del giornalista Martino Cafiero (Barone Carlo Chirandà di Napoli, Naples)
Eng.: Portrait of journalist Martino Cafiero

Venice1914-25. Ritratto dello scultore Adriano Cecioni (Dott. Salvatore Monzelles)
Eng.: Portrait of sculptor Adriano Cecioni

Venice1914-26. Il pasto delle anitre
Eng.: The meal of the ducks

Venice1914-27. La guardiana delle oche (Museo del “Petit Palais” di Parigi, Paris)
=!? 1884, SDbr, The geese shepherd, 81×65, PP Paris (iR195;iR1;M4) = SdAF-1884-1808, La gardeuse d’oies.

Venice1914-28. Sulla strada di Castellamare (Sig. Robhine di Mosca, Moscow)
Eng.: On the Road to Castellamare. Compare: 1876ca, Route de Castellammare, etch after painting in Gazette des Beaux-Arts 1876, 10×13, PP Paris (iR195;iR10;iR13;iR1;M4) + S1876-1543, Sur la route de Castellamare.

Venice1914-29. Nei campi. Dintorni di Londra (Signora Isabella Gerli di Milano, Milan)
=? 18xx, In the Fields around London, 45×55, private (iR35;iR2;iR10;iR1) =?? S1874-1394, Dans les blés

Venice1914-30. Testa femminile
Eng.: Female head

Venice1914-31. Donna appoggiata alla sedia
Eng.: Woman leaning on chair. =?? 1879 (or 1872), Signora Napoletana (Neapolitan Lady), 95×75, A2015/06/15 (iR2;iR6;iR11;iR35;iR41;aR5=iR261)

Venice1914-32. Al rezzo
Eng.: At the rezzo

Venice1914-33. Popolana napoletana
Eng.: Neapolitan commoner

Venice1914-34. Nebbia a Londra
=? 18xx, Foggy day in London, 34×27, A2013/04/29 (iR11;iR15;aR5=iR261)

Venice1914-35, Nel canotto
Eng.: In the dinghy / canoe. Two uncertain options: 1876, In canotto (in a canoe), 54×73, Axx (iR10;iR13;iR1;R264,p327/8) = S1875-1545, À Bougival; and: 1874-75, Leontine in canotto, xx, private (iR6;iR10;aR5=iR261)

Venice1914-36. Mare burrascoso
Eng.: Stormy sea.

Venice1914-37. Sulla sponda del lago
Eng.: On the lake shore.

Venice1914-38. Sulle pendici del Vesuvio I
Venice1914-39. Sulle pendici del Vesuvio II
Venice1914-40. Sulle pendici del Vesuvio III
Venice1914-41. Sulle pendici del Vesuvio IV
Venice1914-42. Sulle pendici del Vesuvio V
Venice1914-43. Sulle pendici del Vesuvio VI
Venice1914-44. Sulle pendici del Vesuvio VII
Venice1914-45. Sulle pendici del Vesuvio VIII
Venice1914-46. Sulle pendici del Vesuvio IX
Eng.: On the slopes of Vesuvius I. I render two uncertain options: 1872, Snowcapped Vesuvius Landscape, on board, 9×18, xx (iR2;iR160;aR5=iR261); and: 1871-72, On the slopes of the Vesuvius III, on wood, 18×31, MdI Giverny (iR8;iR10;M209;aR5=iR261).

Venice1914-47. La Senna
Eng.: The Seine

Venice1914-48. D’inverno
Eng.: In Winter

Venice1914-49. D’estate
Eng.: In summer

Venice1914-50. Accanto al laghetto (Giardino del Lussemburgo)
=? 18xx, Étang dans le jardin du Luxembourg (Pond in the Luxembourg Gardens), ?cm, xx (iR2;aR5=iR261)

Venice1914-51. Ritorno dalle corse (studio)
=? 1875, Return from the Races, 56×114, Philadelphia MA (iR2;R231;M28) =? EU-1878-Italie-60, Retour des courses du bois de Boulogne

Venice1914-52. In salotto
Eng.: In the Drawing Room

Venice1914-53. “Quai Voltaire” – Parigi
Eng.: “Quai Voltaire” – Paris

Venice1914-54. Chiaro di Luna
Compare: 1882, Moonlight, pastel, 54×73, xx (iR160;aR5=iR261)

Venice1914-55. Dintorni di St. Germain
Eng.: Surroundings of St. Germain. This ‘small painting’ was probably also exhibited in 1864 in Naples (R88I,p192).

Venice1914-56. Lungo la Senna, pastel (Museo del Lussemburgo di Parigi, Paris)
=? 1876, Along the Seine, pastel, 52×72, private (iR2;aR5-iR261)

Venice1914-57. L’avvicinarsi del temporale
Eng.: Approaching thunderstorm

Venice1914-58. Impressione di Londra
Eng.: Impression of London

Venice1914-59. Un ponte di Londra
Eng.: A London bridge

Venice1914-60. In visita, pastel
Eng.: Visiting, pastel

Venice1914-61. Dall’alto della diligenza
Eng.: From the top of the stagecoach

Venice1914-62. Il kimono color arancio
=? 18xx, The orange Kimono, 84×62, xx (iR10;aR5=iR261)

Venice1914-63. Figura femminile
Eng.: Female figure

Venice1914-64. In vedetta
=18xx, CR782, Portrait of a Young Woman (on the lookout), 92×61, Axx (iR2;iR14;aR5=iR261;R277,no782)

Venice1914-65. Dintorni di Parigi I
Venice1914-66. Dintorni di Parigi II
Eng.: Surroundings of Paris

Venice1914-67. Sull’erba
Eng.: On the Grass

Venice1914-68. Modella
Eng.: Model

Venice1914-69. Bimbo che dorme
Eng.: Sleeping child. =? 18xx, Siesta, ?cm, xx (iR2;aR5=iR261)

Venice1914-70. Il cavallo e la fontana
Eng.: The horse and the fountain

Venice1914-71-01. Cornice con studio di paesaggio
Venice1914-71-02. Cornice con studio di paesaggio
Venice1914-71-03. Cornice con studio di paesaggio
Venice1914-72-01. Cornice con studio di paesaggio
Venice1914-72-02. Cornice con studio di paesaggio
Venice1914-72-03. Cornice con studio di paesaggio
Eng.: Frame with landscape study (Frame with three landscape studies)

Venice1914-73. In aperta campagna (studio)
Eng.: In the open country (study)

Venice1914-74. Sotto il ponte – Londra
Eng.: Under the Bridge – London

Venice1914-75. Nel Tavoliere di Puglia I.
Venice1914-76. Nel Tavoliere di Puglia II.
Venice1914-77. Nel Tavoliere di Puglia III.
Venice1914-78. Nel Tavoliere di Puglia IV
Eng.: In the ‘Tavoliere’ of Puglia / Apulia region ?

Venice1914-79. Il laghetto di Green Park
Eng.: The small lake of Green Park

Venice1914-80. Nubi su Westminster Londra
Eng.: Clouds over Westminster London. Christies suggests: 1870s, CR713, Westminster Bridge II, 46×61, A1999/12/07 (iR2;iR15;iR11;aR5-iR261). Note: Christies mentions this was exhibited as no. 703. Compare: EU-1878-Italie-58, Westminster.

Venice1914-81. Prima del ballo
Eng.: Before the ball

Venice1914-82. Attorno al lume
=?? 1880ca, In the Lamplight, xx, private (iR2;iR6;aR5=iR261)

Venice1914-83. Nel palchetto
Eng.: In the box

Venice1914-84. Accanto alla Senna (painting: aquarelle  Galleria del Castello Sforzesco di Milano, Milan)
Eng.: Beside the Seine

Venice1914-85. “L’Esplanade des Invalides” (Conte Primoli)

Venice1914-86. Il campo delle corse (studio)
Eng.: The Racing Field (study). Compare: 18xx, CR923, Longchamp races, wc, 26×37, Axx (iR14;aR5=iR261;R277,no923)

 

Giuseppe de Nittis at other exhibitions:

1880, Avenue de l’Opéra: exhibition of his collected works (aR9,p189)

A London Sunday
Probably: 1878, La domenica a Londra (A London sunday), 116×80, PdB Milan (iR2;aR9,p189).

A Sunday in Paris
In the foreground a group of pretty girls sitting under the trees; the Arc de Triomphe in the background; the Champs Elysées on a sunny autumnal afternoon; the road croaded with vehicles and promenaders.

Bird-Charmer of the Tuileries
In the foreground an elderly gentleman feeding sparrows; the garden aglow with flowers an a summer day

A skating-lesson in the Bois de Boulogne
Probably: 1875ca, The skating lesson, 54×73, private (iR6;iR10;iR167)

A Lady at Hampton Court
In the foreground a fair young English lady seated on a bank; a view of the Thames with a pair of ducks

A winter view of the Avenue des Acacias of the Bois de Boulogne, watercolour

Fan
A heavy storm-tossed ocean; golden rays of the moon; black clouds; fragment of a wreck.

 

1912, Musée du Luxembourg
Sommaire des Peintures et Sculptures de l’École Contemporaine exposées dans les Galeries du Musée National du Luxembourg (aR5=iR261)

MdL-1912-664, La place des Pyramides
Additional info: painting, 96 x 70 cm  “Don de l’auteur”, Probably: 1875, Place des Pyramides, 92×75, Orsay (iR2;iR36;iR6;iR127;R89,p99) =S1876-1544,

MdL-1912-665, La place du Carrousel
Additional info: painting, 47 x 62 cm. Probably: 1882, The Place de Carousel and the Ruins of the Tuileries Palace, 45×60, Louvre (iR2;iR6;iR35),

 

 

 

Recommanded citation: “Joseph de Nittis, an account of his exhibited art-works. Last modified 2022/08/29.  https://www.impressionism.nl/giuseppe-de-nittis-account/