Guillaumin, account

 

Impressionism, a historical reconstruction:

Armand Guillaumin

(1841-1927)

Account

of his exhibited works

 

 

Introduction:
On this page you will an account of the works Armand Guillaumin did exhibit at the 6 ‘impressionist’ expositions he joined in 1874, 1877, 1880, 1881, 1882 and 1886. At last you will find a more brief account of the works he exhibited at other expositions: at the Salon, the Salon des Indépendants, the Salon de la Société National des Beaux-Arts, regional exhibitions, Exposition Universelle . See also the main page on Armand Guillaumin and also at the bottom of it for the used sources. See link for the locations where Guillaumin did paint.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 64-66
  • in total Guillaumin exhibited 3 works.
    • 1x indication of place
    • 3x indication of time, season or weather
    • 0x a study
    • 1x loans (appartient à…).
  • See for the suggestions Moffett (R2,p120), Dayez (R87,p238) and Berson (R90II,p8+22). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
  • for the pictures see 1874.

1874 catalogue:

1IE-1874-64, Le Soir, paysage
Moffett doesn’t give a suggestion, nor does Dayez, nor Berson. Marc de Montifaud (1874/05/01) gives an extended review: ‘Le Soir, de Guillaumin, despite some dryness and while lacking clairity, comes from a finer sense and highly sensibel which, through contrast, pulls a vibration out of the colour, and manages to create an effect; so, thanks to the coldness of the foregrounds, the artist has redoubled all the intensity of the setting sun, whose masses are, we’re forced to admit it, ploughed by compact smoke, without dilation / expansion; now, the vaporous principle should merge with the purple of this furnace / oven, but, at least, we can see a bias of execution in the search for the real thing.’  (R90I,p30;R87,p267). This description fits more CR20: 1873ca, CR20, Soleil couchant à Ivry, 65×81, Orsay (iR2;R3,p109;R2,p120;R90II,p8+22;R87,p238;R124,no20;M1). So I like to reserve this work for no.64 and not for no.66 as Dayez, Moffett and Berson do. CR20 also was part of the former collection of Gachet. I assume this was after the start of this exposition, but that needs further study. This work was painted from the Quai d’Alfortville close to the confluence of the Marne and the Seine, with a view on Ivry and on the right one can see Charenton-le-Pont. Note: there also is a drawing of this scene, that is dated 1869 and looks more on CR20, than the 1869ca painting (R179,Z3), so maybe 1869ca is also a better dating for CR20.

1IE-1874-65, Temps pluvieux, paysage
Moffett suggests with a perhaps 1871ca, CR10, The Seine at Paris (Quai de la Rapée), 126×181, MFA Houston (iR2;iR10;R2,p120+128;R8,p14;R90II,p8;R124,no10;M163). Berson still calls the work unidentified. This work doesn’t depict any rain, so I doubt if this was a good suggestion, still I will render it as a suggestion. Armand Silvestre (1874/04/22) reviews: ‘I have received no richer impressions than those from Temps pluvieux by Guillaumin.’ (R2,p128)

1IE-1874-66, Soleil couchant à Ivry; appartient à  M. le docteur Gachet
Moffett suggests CR20, so do Dayez and Berson: 1873ca, CR20, Soleil couchant à Ivry, 65×81, Orsay (iR2;R3,p109;R2,p120;R90II,p8+22;R87,p238;R124,no20;M1). Berson sugggests it was also shown as 8IE-1886-76, which I doubt. Because of the review by De Montifaud, I think CR20 was exhibited as no.64. I like to suggest for no.66: 1869ca, CR-, La Seine à Ivry, on wood, 31×40, PP Geneva (iR6;iR10;iR42;R94,p50;R179,G3), which was also part of the Gachet collection. It depicts a similar scene as CR20. It is smaller and on wood, so it could be a study, but then you expect the dating of the two works is more simultaneous. Anyway in CR20 the sun stands much lower, than in the smaller ‘study’, you could say, that it depicts better an evening.

 

The 3rd ‘impressionist’ exposition 1877:

  • catalogue numbers 62-73
  • in total Guillaumin exhibited 12 works.
    • 11x indication of place, 4 at Issy (no.62+63+67+72), at Meudon (64, 86 + 69), Clamart (no. 65+70+73) and at Billancourt (no.66)
    • 1x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…).
  • See for the suggestions of Moffett (R2,p204) and of Berson (R90II,p74+92). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
  • for the pictures see 1877.

1877 catalogue:

3IE-1877-62, Le parc d’Issy en automne
Moffett doesn’t give a suggestion, Berson omits the work; there were no reviews. Compare no. 67 + 72 with the same theme. The Catalogue Raisonné renders a work that could be an option for no.62, 67 or 72: 1874ca, CR35, Parc d’Issy-les-Moulineaux, 55×46, xx (R124,no35; former Bernheim-Jeune collection). There is a pastel called ‘Issy’, that could well be an option for 6IE-1882-54, Parc d’Issy, pastel, namely: 1872, SbrDbl, Issy, pastel, 44×52, PP Paris (iR127;iR10;iR347;R2,p395;M4). When we look at this picture it has many similarities with 1876ca, CR49, Tall trees in autumn, 180×123, Ng Oslo (iR10;iR64;R2,p400;R90II,p203;R179,G9;R310,p147;M92) former Gauguin collection and by Moffett suggested for 7IE-1882-32 or 33, Paysage d’automne. And also with 1876ca, CR48, Vallee de Chevreuse, en automne, 73×60, private (R124,no48) and also with 1875ca, CR40, Paysage de la Vallee de Chevreuse, 100×60, xx (R124,no40;R2,p204) = former Durand-Ruel collection; and maybe also with 1874ca, CR31, Vallée de Chevreuse, 65×81, xx (R124,no31), former Durand-Ruel collection. But the Chevreuse valley lies about 30km south of Issy-les-Moulineaux, see map (iR9). So, either 1. the similarity between the pastel and the pictures is limited or more coincidental, or 2. the naming of the pastel is injust, or 3. the naming of the pictures are injust. I assume the latest option and will render CR49, CR40 and CR48 as options for no.62 and / or no. 67 and 72. These works seem a small serie, just as no. 62+67+72. The pictures show more a parc, then a valley. There is some similarity between the trees rendered by Guillaumin and an etch by James Tissot from 1878, see link. When we look at a painting by Hippolyte Noël ‘1876, Peintre peignant sur le vif dans le parc d’Issy sur Seine sous neige, 101×80, A2019/07/27’ (iR10;iR11)’, we can see also some similarities between the paintings of Guillaumin and this painting of Noël. Google maps shows there is some difference in height in the parc Henri Barbusse, which could affirm my suggestion. Old post cards, don’t seem to affirm my suggestion, nor do they fully disprove it, see link. So it demands further study.

3IE-1877-63, Route de Clamart à Issy
Moffett suggest with a perhaps CR32, Berson follows, now: 1873-75, CR32, environs de Paris, 61×100, Birmingham CMAG (iR10;iR173;iR2;iR8;R17,162;R90II,p74). I follow their suggestion. Bigot (1877/04/28) discribes it as ‘a panorama’ and adds that it is not without qualities. ‘But sadly it is cold; it lacks of air; it lacks also warmth and life.’ (R90I,p134). La Petite République française (1877/04/10) just mentions the title (R90I,p176). Clamart lies just south of Issy, but I can’t find a Route de Clamart.

3IE-1877-64, Viaduc de Fleury
Moffett suggests with a perhaps CR34, now: 1874ca, CR34, the Arcueil aqueduct at Sceaux, railroad crossing, 50×63, AI Chicago (iR10;iR6;iR30;R90II,p74), he follows Serret & Fabiani. Guillaumin probably painted this aqueduct standing about on what is now 31, Rue de 8 Mai 1945 in Arcueil, with the Paris-Sceaux railway line to his right and the Avenue des Aquaducs on the left. Probably part of the ‘aqueduc de la Vanne’ which was recently finished. The Paris – Sceaux railroad line was inaugurated in 1844 (R17,p158+164;iR4). But there seems to be a geographical discrepancy between the Viaduc de Fleury and the Aqueduct at Arcueil, so Berson leaves it unidentified (R90II,p74). The Viaduct lies about 8km west of the Aqueduct, see map. So, I will render this work to compare. Compare also: 3IE-1877-69, Le Val Fleury. The suggestion I render for number 69, could well be a suggestion for no. 64.

3IE-1877-65, Rue de Saint-Cloud, à Clamart
Moffett doesn’t give a suggestion, Berson omits the work; there were no reviews. Saint-Cloud lies about 10km north-west of Clamart. I couldn’t find a Rue de Saint-Cloud in Clamart. Compare no. 70 + 73 with the same theme. I render 3 uncertain options out of many for the numbers 65 + 70 + 73: 1870, CR-, SDbl, A street in Île-de-France, 73×59, A2016/05/13 (HW;iR15;iR11;iR2;R2,p204); and: 1875ca, CR-, Promenade (une rue), Île-de-France, 65×81, private (iR10;iR338;R2,p204); and: 1877ca (or 1892ca), CR256, Turning road, 47×55, A2011/06/23 (iR2;iR14;iR11;R1,p359;R2,p204).

3IE-1877-66, Lavoir, à Billancourt
Moffett doesn’t give a suggestion, nor does Berson, who refers to a review in La Petite République française (1877/04/10), who just mentions the title (R90I,p176). To compare I render: 1880ca, Lavoir à Charenton (laundry boat at Charenton), 46×55, A2005/02/09 (iR11;iR22;R2,p204).

3IE-1877-67, Le parc d’Issy
Moffett doesn’t give a suggestion, Berson omits the work; there were no reviews. Note the same title as no. 72 and almost as no. 62. See at no.62.

3IE-1877-68, Le coteau de Meudon
Eng.: a hillside at Mendon. Moffett doesn’t give a suggestion, Berson omits this work; there were no reviews. As a very uncertain suggestion I render: 1877, CR-, SDbr, Valley near Issy-les-Moulineaux, 46×55, MBH Bayonne (iR22;iR10;R179,G10;R310,p19). Note: Issy-les-Moulineaux lies just north-east of Meudon, see map

3IE-1877-69, Le Val Fleury
Moffett doesn’t give a suggestion, Berson omits the work; there were no reviews. I suggest: 18xx, Viaduct at Val-Fleury, Meudon (Hauts-de-Seine), xx, xx (iR155;iR10). Compare: 3IE-1877-68, Le coteau de Meudon and: 3IE-1877-64, Viaduc de Fleury. Maybe Guillaumin was standing about at 18, Rue de Paris in Meudon, when he painted this picture.

3IE-1877-70, Rue de Trosy, à Clamart
See map for the Rue de Trosy in Clamart. Moffett doesn’t give a suggestion, nor does Berson, who refers to a review in La Petite République française (1877/04/10), who just mentions the title (R90I,p176). Compare no. 65 + 73 with the same theme. See my suggestions at no. 65.

3IE-1877-71, Femme couchée
Moffett and Berson suggest CR51, now: 1876-77ca, CR51, Femme couchée, 49×65, Orsay (iR6;iR59;R11,p337;R2,p204;R90II,p74+92;R124,no51;R310,p17;R124,no51;M1) = former Gachet collection.

3IE-1877-72, Le parc d’Issy
Moffett doesn’t give a suggestion, Berson omits the work; there were no reviews.  Note: the same title as no. 67 and almost as no. 62. See at number 62.

3IE-1877-73, Rue, à Clamart
Moffett doesn’t give a suggestion, Berson omits the work; there were no reviews. Compare no. 65 + 70 with the same theme. See my suggestions at no. 65.

 

The 5th ‘impressionist’ exposition 1880:

  • catalogue numbers 63-84
  • based on a review of Henry Trianon (1880/04/08) Guillaumin maybe also exhibited 4 works outside the catalogue (=hc=hors catalogue). This suggestion is not made by Moffett or Berson.
  • so in total Guillaumin exhibited 22+4hc=26 works, including 4 pastels, including 6 portraits.
    • 13+4hc=17x indication of place; Paris (no.67+80+hc1+hc3), including Port d’Austerlitz (no.64+65+66); Fontenay-aux-Roses (no.68+69+74+75); Châtillon (no.77+78); Auteuil (no.hc2); the Marne (at Ivry) (no.63+70); the Seine (no. hc4), excluding the Seine in Paris.
    • 5+1hc=6x indication of time, season or weather
    • 0x a study
    • 5x loans (appartient à…), of Perrinet (no.64), Bonnet (no.70), Aguiar (no. 71), Parard (no.76), Mme G. (no.81) .
  • See for the suggestions of Moffett (R2,p311/2) and Berson (R90II,p150/1+166/7). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
  • for the pictures see 1880.

1880 catalogue:

5IE-1880-63, Bords de la Marne
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1882ca, CR107, Banks of the Marne, 59×72, A2006/09/14 (iR2;iR11;R2,p311) = Bernheim-Jeune expo in 1902; when it is made later, than I show it to compare.

5IE-1880-64, Port d’Austerlitz; appartient à M. Perrinet
Eng.: the harbour of Austerlitz. Probably a (former) harbour at the Quai d’Austerlitz. Moffett suggests with a perhaps CR53, Berson repeats this suggestion, but calls the work not identified. Moffett also uses this suggestion for 6IE-1881-44. Now: 1877ca, CR53, le Quai d’Austerlitz, 40×62, Indianapolis MA (iR6;iR8;iR22;R2,p311;R90II,p150;R124,no53;M165) =!? 6IE-1881-44, Quai d’Austerlitz = former Durand-Ruel collection.

5IE-1880-65, Port d’Austerlitz, effet de neige
Moffett doesn’t give a suggestion. Berson calls the work not identified. Note: the same location as no.64. Henry Trianon (1880/04/08) mentions works which he titles ‘Vues de la Seine pendant le dernier hiver’ (R90I,p314; Eng.: Views on the Seine during the last winter). He comments: (these views) ‘are quick travel notes; it’s stenography; you must have taken them yourself to remind you of something’. I render two uncertain options: 1875ca, CR-, Paris, quai de la Seine, 54×73, A2020/02/05 (iR14;iR2;iR11;R2,p311); and: 1879, CR-, SDbr, Banks of the Seine in Paris, winter, 54×65, A2021/11/17 (iR14;iR10;R3,p205;R2,p311).

5IE-1880-66, Port d’Austerlitz, effet de neige
Moffett suggests with a perhaps CR43 now in the Musée d’Orsay, referring to Derbanne. Berson follows, now: 1872-73ca, CR43, Place Valhubert, 65×81, Orsay (iR2;iR23;iR59;iR35;iR6;R2,p311;R90II,p150+166;R124,no43;M1). The Place Valhubert is the prolonged part of the Quai d’Austerlitz, before it extends into the Quai Bernard, see map. Note: the same title as no.65. See no.65 for the comment of Trianon.

5IE-1880-67, Quai de la Gare, effet de neige
Moffett suggests with a perhaps CR29 now in the Musée d’Orsay. Berson follows, now: 1873-75ca, CR29, Quai de la Gare (de Bercy), effet de neige, 51×61, Orsay (iR23;iR22;iR59;iR2;R90II,p150+166;R2,p311;R3,p154;R124,no29;M1). Berson notes that Jacqueline Derbanne identified this work in a letter (1984/12/09). Berson also refers to a review of Silvestre (1889/05/01) who just mentions the title and to the general comment of Trianon (see no.65). Note: that CR29 doesn’t depict the Seine, wasn’t made the last winter and doesn’t depict show. So I render this work as an uncertain option. The location of CR29 needs further investigation; the Quai de la Gare is on the left bank opposite the Quai de Bercy.

5IE-1880-68, Rue des écoles à Fontenay-aux-Roses
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. Henry Trianon (1880/04/08) mentions a work titled ‘Rue d’Auteuil’, which not likely refered to this work, because Auteuil lies about 8km north-west of Fontenay-aux-Roses, see map. So I assume that Guillaumin exhibited ‘Rue d’Auteuil’ outside the catalogue (R90I,p314). I couldn’t find one picture Guillaumin made in Fontenay-aux-Roses. He depicted many road scenes. I render one picture that show (school)children on a road: 1875ca, Landscape with Figures, xx, Phoenix AM (iR6;R2,p311).

5IE-1880-69, Fontenay-aux-Roses
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. I couldn’t find one picture Guillaumin made in Fontenay-aux-Roses, so I render a very uncertain suggestion made in the Île-de-France of which Fontenay-aux-Roses is part: 1873ca, CR-, Landscape, Île-de-France, 32×40, A2013/06/20 (iR14;iR2;iR13;R2,p312). On the picture one can see a small village in the distance. Note: the use of colour and the brushstroke, make me assume this work was made a few years later than 1873.

5IE-1880-70, La Marne à Ivry; appartient à M. Bonnet
Moffett doesn’t give a suggestion, nor does Berson. Armand Silvestre (1880/05/01) reviews ‘a fairly pure study and of a plausible harmony amongst his violent outbursts’. (R90I,p307). As an uncertain option I render: 1880ca, Ivry, the pointe, 55×66, A2006/02/08 (iR2;iR11;R2,p311). This painting fits the discription of Silvestre. This painting was probably made, when Guillaumin was standing on the right bank of the Marne in Charenton-le-Pont, close to the confluence of the Marne and the Seine, viewing Ivry at the opposite left bank of the Seine, see map. Being made around 1880, makes it a very good suggestion. There needs to be study done after the provenance of this painting, to see if it affirms or rejects my suggestion.

5IE-1880-71, Portrait de M. A.; appartient à M. Aguiar
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. The depicts a portrait of M. Aguiar, who was a Cuban doctor and a friend of Dr. Gachet (R90II,p285). Compare also: 6IE-1881-51, Portrait de M. J. A. , pastel. To compare I render a portrait of a woman: 1880ca, Portrait of a woman, 60×50, xx (iR10;iR207;R2,p312).

5IE-1880-72, Portrait de M. G.
Moffett doesn’t give a suggestion. Berson suggests CR55, now: 1878, CR55, selfportrait with easel, 60×50, VGM Amsterdam (iR77;iR2;iR6;R90II,p150+166;R310,p19). Henry Trianon (1880/04/08) reviews ‘This portrait of a painter who, palette in hand, turns around to look at the audience, is undoubtedly the portrait of Mr. Guillaumin. I think we need to spread some calm on all this.’ (R90I,p314) Armand Silvestre (1880/05/01) reviews ‘I don’t know anything more phony than his Portrait de M. G…‘  and earlier (1880/04/24): (this portrait) ‘is simply monstrous by the brutality of its model in a range that goes from one extreme to the other. (R90I,p307) Bertall (1880/04/07) reviews ‘A new one, Mr. Guillaumin, lives alone in a box that contains the most amazing things, including a gentleman who fell with his nose down on his pallet and looks furiously at the viewer, who is amazed to see gathered on a single face, so many reds, greens, blues, violets and yellows. And what a horribly disturbed forehead from the fall, what hair bristling by agony!’ (R90I,p268)

5IE-1880-73, Paysage, printemps
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1874ca, CR-, Landscape with woman (Landscape, Île-de-France) (HW: spring), 38×46, A2006/11/08 (iR2;iR14;iR11;R2,p312). This work clearly depicts a spring landscape.

5IE-1880-74, Paysage à Fontenay
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. Probably intended is Fontenay-aux-Roses, see also no. 68, 69 and also 75. I couldn’t find one picture Guillaumin made in Fontenay-aux-Roses. As a very uncertain option I render: 1878, Arbres en Île-de-France, 53×65, A2011/05/04 (iR2;iR11;R2,p212). Note the violet shades Guillaumin uses in this picture!

5IE-1880-75, Fosse basin à Fontenay
Eng.: Pool pit / basin at Fontenay. Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. Probably intended is Fontenay-aux-Roses, see also no. 68, 69 and also 74. I couldn’t find one picture Guillaumin made in Fontenay-aux-Roses. To compare I render: 1876ca, Paysage d’Île-de-France, la Marne, 41×55, A2016/05/13 (iR11;R2,p312). This painting also shows something like a pool pit; probably it depicts a small banche of the Marne, maybe on the Île-des-Ravageurs. Compare also 7IE-1882-52, Paysage à la fosse Bazin, pastel.

5IE-1880-76, Collégien; appartient à M. Parard
Eng.: Gymnasium student. Moffett suggests with a perhaps: ‘Parke-Bernete, New York, 8 April 1964, no. 100’, probably referring to an auction catalogue. Berson suggests ’18xx, CR-, the schoolboy, 54×45, Detroit IA (iR10;iR64;R90II,p150).

5IE-1880-77, Plaine de Châtillon
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1874, CR-, SDbr, The Plains of Bagneux, South of Paris, xx, private (iR10;aR1;iR2;R2,p312). Bagneux lies 2km east of Châtillon, see map.

5IE-1880-78, Plaine de Châtillon, automne
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As a very uncertain option I render: 1876-77ca, Landscape, Île-de-France, xx, NAM Kansas City (iR10;iR94;R2,p312;M42). Looking at the trees this painting probably depicts the autumn.

5IE-1880-79, Carrière abandonnée
Eng.: Abandoned quarry. Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 18xx, The outskirts of Paris, 48×59, A2005/05/04 (iR2;iR11;iR10;R2,p312).

5IE-1880-80, Pont-Marie
Moffett suggests with a perhaps CR85. Berson repeats this suggestion, but leaves the work not identified. Now: 1880ca, CR85, Le Pont Marie, Paris, 54×66, xx (R124,no85;R2,p312;R90II,p150). I will render a black-and-white picture of it. Compare 6IE-1881-43 ‘Quai Sully’, that also depicts the Pont-Marie. Armand Silvestre (1880/04/24) reviewed ‘There are, however, strikingly accurate tone relationships in Pour Marie (sic) (no 80)’. (R90I,p307). Maybe: 1874, CR-, SDbl, Paris, La Seine au Pont-Marie, 46×37, A2018/03/25 (iR11;R2,p312), also is an option.

5IE-1880-81, Mlle B; pastel; appartient à Mme. G.
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1875, SDtl, Portrait of a young woman, pastel , 37×29, A2012/02/09 (iR2;iR11;iR14;R2,p312).

5IE-1880-82, M. Martinez; pastel
Bertall (1880/04/07) reviewed: Two heads of a male Spaniard and a female Spaniard fight unforeseen with this head of the painter. (R90I,p268). Moffett suggests with a perhaps a work owned by J. Erwteman in Brussels. Berson suggests the same work, now: 1880, Portrait de M. Martinez, pastel, 44×34, A2007/05/23 (iR11;R90II,p150). Probalby also exhibited as 6IE-1881-52.

5IE-1880-83, Mme M.; pastel
Bertall (1880/04/07) reviewed: Two heads of a male Spaniard and a female Spaniard fight unforeseen with this head of the painter. (R90I,p268). Moffett suggests with a perhaps a work also owned by J. Erwteman in Brussels. Berson gives additional information, now: 1880, portrait of Madame Martinez, pastel, 43×35, private (iR2;R90II,p151+167).

5IE-1880-84, Mme G.; pastel
Moffett doesn’t give a suggestion. Berson suggests ‘Portrait de la femme de l’artiste’, auctioned at Sotheby’s 1985/12/05. She also suggests the 3 pastels no.82-84 were a serie. Now: 1888ca, CR-, Portrait of the Artist’s Wife, pastel, 46×39, A2011/05/04 (iR2;iR14;R90II,p151). The date given during the most recent auction at Sothebys contradicts the suggestion of Berson, so I just render it to compare.

5IE-1880-84+hc1, Vue d’un bras de la Seine, à Paris, au soleil couchant
Henry Trianon (1880/04/08) mentioned a work with this title (R90I,p314). As none of the paintings exhibited carry in their title nor ‘la Seine’, nor ‘Paris’, nor ‘soleil couchant’, I suppose this work was exhibited outside the catalogue. The only side-arms of the Seine in Paris, are those around the Île-Saint-Louis and the Île-de-la-Cité. As an uncertain option I render: 1882ca, CR102, Le Pont-Marie, 60×81, A2007/11/08 (iR11;iR14;iR2;iR59;R90I,p314); former Durand-Ruel collection. The picture clearly shows a side-arm of the Seine and a sunset. You can also recognize the Pont-Marie. Guillaumin stood probably an the quai around 14, Voie de Georges Pompidou, when he painted this work; and it seems as if he shortened the distance. When indeed this work was painted in 1882, I render it to compare.

5IE-1880-84+hc2,  Rue d’Auteuil
Henry Trianon (1880/04/08) mentioned a work titled ‘Rue d’Auteuil’ and he adds ‘en plein soleil’, which maybe refers to no.68, but more probably to a work exhibited outside the catalogue (R90I,p314). Auteuil lies just west of Paris. I render two uncertain options, with a road in the country in full sunlight: 1873 (08), CR-, SDbl, Near Paris, 116×90, MF Montpellier?? (iR2;iR22;R90I,p314;M14); and: 1871ca, CR-, Landscape Île-de-France, 73×60, A2020/06/29 (iR14;iR2;iR11;R90I,p314).

5IE-1880-84+hc3, Environs de Paris
Henry Trianon (1880/04/08) mentioned a work with this title (R90I,p314). It may refer to one of the  paintings depicting the surroundings of Paris that he exhibited. But as none of these works carry the title ‘Paris’ I suppose it was exhibited outside the catalogue. Trianon describes ‘where terrains tumbling down and up by a picturesque little house that pushes away the distance, are indicated and even rendered with great charm;’ As an uncertain option I render: 1870ca, CR9, Cueillette des cerises à Auvers (Cherry picking in Auvers), 73×60, A2021/12/13 (iR14;R124,no9;R90I,p314). This painting more or less fits the discription of Trianon.

5IE-1880-84+hc4, Bords de la Seine
Henry Trianon (1880/04/08) mentioned a work with this title (R90I,p314). He describes ‘where a very lifelike path runs through natural lawns and along a line of light bushes with red leaves;’. I render two uncertain options: 1874ca, CR30, Landscape, Île-de-France, 73×100, A2012/10/25 (iR11;iR15;R90I,p314); and: 1880ca, Barqes on the Seine, 44×79, A2017 (iR2;iR6;iR14;R90I,p314). Both more or less fit the discription of Trianon.

 

The 6th ‘impressionist’ exposition 1881:

  • catalogue numbers 40-55
  • in total Guillaumin exhibited 16 works, including 5 pastels and 1 watercolour; 5 works were portraits.
    • 9x indication of place; Paris (no.42+43+44+45+46+50); Châtillon (no.40+41); Clamart (no.47)
    • 0x indication of time, season or weather
    • 1x a study
    • 1x loans (appartient à…), of Gauguin (no.43).
  • See for the suggestions of Moffett (R2,p354) and Berson (R90II,p182+192). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
  • for the pictures see 1881.

1881 catalogue:

6IE-1881-40, Paysage à Châtillon
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1878ca, Landscape, Île-De-France, xx, xx (iR10;iR345;aR5). Compare my suggestion for 7IE-1882-41, Chemin du Clos-Montholon, which shows similarities to this work. Note that Châtillon lies just south-east of Vanves, see map.

6IE-1881-41, Jardin à Châtillon
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1880ca, The Nasturtium Path, 79×64, NCG Copenhagen (iR2;R2,p354;M90).

6IE-1881-42, Quai des Célestins
Moffett doesn’t give a suggestion. Referring to the Valabrèque review Berson suggests CR151. Antony Valabrèque  (1881/04/15) reviews ‘one of his best submissions is the Quai des Célestins cluttering with ships of which half-naked dockworkers handle the load.’ (R90I,p369) I render another possibility: 1886, CR150, SDbr, Le pont de Sully, Paris, 73×92, A2011/02/09 (iR11;iR14;R2,p354;R124,no150) = former Durand-Ruel collection. Note: this work was made much later, but so was CR151. This work also resembles the description of Valabrèque. The Pont de Sully can be seen from the Quai des Célestins, see map.

6IE-1881-43, Quai Sully; appartient à M. Gauguin
Moffett suggests CR54, Berson follows, now: 1878ca, CR54, pont Marie, Quai Sully, 59×71, PP Geneva (iR2;iR59;R90II,p182+192;R2,p354).

6IE-1881-44, Quai d’Austerlitz
Moffett suggest with a perhaps CR53. Berson repeats this suggestion, but calls the work not identified. Moffett also used this suggestion for 5IE-1880-64. Armand Silvestre (1881/04/11) reviews ‘his Quai d’Austerlitz is remarkable for its tranparency of the water.’ and later (1881/04/16) ‘alltogether successful’ (R90I,p365/6).

6IE-1881-45, Quai de la Râpée
Moffett and Berson suggest: 1881ca, CR-, Quai de la Rapée, 50×79, private Paris (iR2;R2,p365;R39,p74;R90I,p182). Huysmans (1883) wrote about this and other works: ‘Guillaumin, too, is a colourist, and what is more, a ferocious one. At first sight his canvases are a confusion of battling tones and rough contours, a cluster of vermilion and Prussian blue zebra stripes. Step back and blink and everything falls into place; the planes become steady, and the strident tones calm. The hostile colours reconcile themselves, and you are astonished by the unexpected delicacy of certains parts of these paintings. His Quai de la Rapée above all is especially surprising from this point of view.’ (R2,p365;R179,p29).

6IE-1881-46, Quai Henri IV
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1882ca, CR-, Quai Henri IV, Paris, 54×65, OG Copenhagen (iR10;iRx;R179,G20;R2,p354).

6IE-1881-47, Route de Vanves-à-Clamart
Moffett doesn’t give a suggestion, nor does Berson, who refers to a general review of Dalligny. Probably: 1872-73ca, Rue de Clamart à Vanves, 50×62, A2005/02/09 (iR2;iR11;R2,p354).

6IE-1881-48, Portrait de Mlle B. en costume de page
Eng.: portrait of miss B. in a suite of a hangman / a court jester / . Moffett doesn’t give a suggestion, nor does Berson. Geffroy (1881/04/19) reviews ’the children’s heads are delicate and well constructed,’ (R90I,p342), this may refer to no. 48 or 54. I couldn’t find a suggestion. 

6IE-1881-49, Paysage
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. I render two very uncertain options out of many: 1875ca, Landscape, Île-de-France, 61×101, A2004/05/05 (iR2;iR11;R2,p354); and: 1875ca, CR41, Landscape Île-de-France, 65×81, A2021/05/14 (iR15;R2,p354).

6IE-1881-50, Quai Saint-Bernard, aquarelle
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 18xx, Barques de pêche amarrées, wc, 16×25, Louvre (iR23;R2,p354) = former Gachet collection .

6IE-1881-51, Portrait de M. J. A. , pastel
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. To compare I render: 1886, SDbr, Portrait of a man, (recto), pastel, 44×29, MPP Paris (iR127;M4).

6IE-1881-52, Portrait de M. Martinez, pastel
Moffett suggests a work owned by J. Erwteman in Brussels, probably the same work as 5IE-1880-82. Berson affirms this suggestion, now: 1880, Portrait de M Martinez, pastel, 45×35, A2007/05/23 (iR11;R90II,p182).

6IE-1881-53, Portrait de C. G. , pastel
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. I couldn’t find a suggestion. Maybe it was a relative of his future wife and niece Marie-Joséphine Gareton.

6IE-1881-54, Portrait de Mlle M. L., pastel
Moffett doesn’t give a suggestion, nor does Berson. Geffroy (1881/04/19) reviews ’the children’s heads are delicate and well constructed,’ (R90I,p342), this may refer to no. 48 or 54. As an uncertain option I render: 1878, SDbr, Tête de femme de profil, pastel, 47×32, MuMa Le Havre (iR23;R2,p354;M15). 

6IE-1881-55, Etude de bateaux, pastel
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1xxx, Shipyard Scene, pastel, 28×31, A2012/09/12 (iR11;R2,p354).

 

The 7th ‘impressionist’ exposition 1882:

  • catalogue numbers 31-56
  • in total Guillaumin exhibited 26 works, including 13 pastels.
    • 12x indication of place: Châtillon (no.31+34); Paris (no.35+36+40+46+50); Dieppe (no.37); Ailly (no.39); Vanves (no.41); Issy (no.54); the Seine (no.56)
    • 2x indication of time, season or weather: no. 32+33.
    • 6x a study: no.42+43+44+45+48+49
    • 1x loans (appartient à…), of M. P. (no.45).
  • See for the suggestions of Moffett (R2,p395) and Berson (R90II,p203/4). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
  • for the pictures see 1882.

reviews:
Armand Sallanches (1882/03/03) reviewed ‘M. Guillaumin sees a little too much in red. His drawing is good, his composition is not bad but his colouring is confusing. (…) the same can be said of his pastels, which are nevertheless less accentuated. ‘ (R90I,p412).
J.-K. Huysmans (1883) reviewed ‘M. Guillaumin is gradually unravelling the chaos in which he has long dwelt. In 1881, in the coloured storm of his canvases, solid pieces were already breaking through, and vivid impressions of the sunset were stabbing through; this time, his Paysages de Châtillon (no.31 and 34), his Abreuvoir du quai des Célestins (no.36) are almost balanced, but M. Guillaumin’s eye remains singularly agitated when he considers the human face; his rainbow colours, which he lavished in the past, reappear in his portraits, and dazzle abruptly from the top to the bottom of his canvases.’ (R90I,p397).

1882 catalogue:

7IE-1882-31, Le côteau de Chatillon
Moffett doesn’t give a suggestion, nor does Berson. Armand Sallanches (1882/03/03) reviews ‘ <Côteau de Châtillon>, why paint so red?’ (R90I,p412). To compare I render: 1880ca, CR90, the Chevreuse Valley, 65×92, A2014/05/08 (iR2;iR11;iR14). This pictures also depicts a hill-side and contains many reds. But the Chevreuse Valley is about 30km south of Châtillon, see map.

7IE-1882-32, Paysage d’automne
For no. 32 or 33 Moffett suggests with a perhaps 1876ca, CR49,  Autumn landscape (landscape end of October, 180×123, Ng Oslo (R2,p400). The National Gallery (Nasjonal Museet) in Oslo affirms this suggestion (M92). Berson repeats this suggestion, but notes that Bodelsen (1970,no.16) does not affirm this suggestion. Berson calls this work not identified; there were no reviews. Maybe 1875ca, CR40, Paysage de la Vallee de Chevreuse, 100×60, xx (R124,no40), is a better option, because it was part of the Durand-Ruel collection. But, both works are also options for 3IE-1877-62, Le parc d’Issy en automne, see info overthere. Still, I will render them both as uncertain options. I render 2 other uncertain options with autumn landscapes for no. 32 and 33: 1875ca, Landscape, Île-de-France, 55×46, A2003/05/07 (HW;iR14;iR11;iR2); and: 1873ca, The Seine, 65×81, A2002/11/07 (iR2;iR14;iR11;iR22). 1881ca, CR95, Paysage au chemin de fer, environs de Paris, 73×100, Axx (iR13;iR10;R124,no95), which was part of the  Durand-Ruel collection and which I suggest for no.41, also depicts an autumn landscape.

7IE-1882-33, Paysage (fin octobre)
See no. 32; there were no reviews. For my suggestions, see no.32.

7IE-1882-34, Paysage à Chatillon
Moffett doesn’t give a suggestion, nor does Berson, who refers to the review of Huysmans, see no.31. To compare I render: 1873ca, CR26, Surroundings of Clamart, 65×81, A2015/06/26 (iR11;iR13;iR10). Clamart lies about 4km south-west of Châtillon, see map.

7IE-1882-35, Pont-Louis-Philippe
Compare no. 46. Moffett doesn’t give a suggestion, nor does Berson, who refers to the reviews of Sallanches (‘very well drawn’, R90I,p412) and the drawing of Draner (1882/03/09; R90I,p417). To compare I also render: 1875, CR44, SDbl, Le Pont Louis Philippe, 46×61, NGA Washington (iR6;iR10;R6,p45;R8,p45;R2,p395;M21)

7IE-1882-36, Abreuvoir (quai de Célestins)
Eng.: drinking place (Quai de Célestins). Moffett doesn’t give a suggestion, nor does Berson. Jean de Nivelle (1882/03/04) reviews ‘M. Guillaumin, he does wonders of value, that is to say that he has trained, on purpose, horses made of cardboard or wood, to get them to drive at l’abreuvoir des Célestins by men who look like they have all the trouble in the world to deal with them.’ (R90I,p406). Fichte reviewed ‘M. Guillaumin presents us with horses of all the colours of the rainbow drinking from waters that look like a julienne soup.’ (R90I,p387). La Fare (1882/03/02) reviewed ‘Here is a painting that is also very entertaining: it depicts a jumble of characters of all colours; yellow trees and red and blue horses. The latter come to bathe in a multicoloured Seine. The poor animals seem to be suffering a lot, and they are not used to rainbow baths, as you can see. That must be hygienic.’ (R90I,p401). De Biez and Huysmans don’t describe this work. To compare I render two pictures depicting watering horses: 18xx, Bords de la Seine, 29×41, M Crozatier Le Puy-en-Velay (iR23); and: 1881ca, Le quai de Bercy, 45×54, A2017/05/31 (iR11).

7IE-1882-37, Avant-port (Dieppe)
Moffett doesn’t give a suggestion. Probably a harbour in Dieppe, see map. The meaning of ‘avant’ is not clear. Berson following Jacqueline Derbanne, suggests HD1980/05/20-no.144. Armand Silvestre (1882/03/11) reviewed ‘I like very much the transparent waters of his Avant-port de Dieppe (no 37) and his Voltigeur (no28; sic)’. (R90I,p414). D’Alq and Durand also referred to this work, but don’t describe it. To compare I render: 1881ca, CR96, Le porte de Sainte-Adresse, 60×73, Axx (iR13;iR10;R124,no96;R2,p395) former PP Geneva (R179,G16;M144).

7IE-1882-38, Le voltigeur
Eng.: the acrobat or the outfielder or the hunter. A voltigeur also is a militair from the infantery, besides a fusilier and grenadier (iR3). Moffett doesn’t give a suggestion, nor does Berson. Armand Silvestre (1882/03/11) reviewed ‘I like very much the transparent waters of his Avant-port de Dieppe (no 37) and his Voltigeur (no28; sic)’. (R90I,p414)  I couldn’t find a suggestion.

7IE-1882-39, La pointe d’Ailly
Moffett doesn’t give a suggestion, nor does Berson. There are a few places called Ailly in the surroundings of Amiens and one about 100km east of Paris, see maps. Jean de Nivelle (1882/03/04) reviewed ‘Bleach of who knows what is stored there on the grass, at the water’s edge: they look like so many crocodiles stretched out in the sun and opening the jaw to grasp prey.’ (R90I,p406) To compare I render: 1889, Landscape (no.1), xx, A2005/01/19 (iR11;iR14;aR5;R2,p394). This work partly fits the description of Jean de Nivelle. For the title compare also: 1880ca, La pointe D’Ivry, 55×66, A2006/02/08 (iR11;iR2), a work I suggest for 5IE-1880-70, La Marne à Ivry.

7IE-1882-40, Lavoirs (Pont-Marie)
Eng.: Wash house / boat (Pont-Marie). Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. I like to suggest: 1871ca, CR-, Banks of the Seine (unloading coal), 58×71, A2012/11/08 (iR2;iR15;iR11). This work has many similarities with: 1882ca, CR102, Le Pont-Marie, 60×81, A2007/11/08 (iR11;iR14;iR2;iR59), a work that was part of the Durand-Ruel collection and which I suggest for 5IE-1880-84+hc1, Vue d’un bras de la Seine, à Paris, au soleil couchant. The title ‘unloading coal’ is badly visible. More visible are boats that look like wash boats. They probably are also visible on: 1874, CR-, SDbl, Paris, La Seine au Pont-Marie, 46×37, A2018/03/25 (iR11;R2,p312).

7IE-1882-41, Chemin du Clos-Montholon
Moffett doesn’t give a suggestion, nor does Berson. This road lies in Vanves, which lies south of Paris; the road runs parallel to a railway track. Armand Silvestre (1882/03/11) reviews ‘Mr. Guillaumin’s greens don’t seem right to me, in his Chemin du clos Montholon, for example (no. 41).’ (R90I,p414). As option I render: 1881ca, CR95, Paysage au chemin de fer, environs de Paris, 73×100, Axx (iR13;iR10;R124,no95). This work belonged to Durand-Ruel and also runs parallel to a railway track. The Silvestre review also could apply to this work. This painting is largely identical to: 1878ca, Landscape, Île-De-France, xx, xx (iR10;iR345;aR5;R2,p354), a painting I render as very uncertain suggestion for 6IE-1881-40, Paysage à Châtillon.

7IE-1882-42, Étude
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As a very uncertain option out of many I render: 1870ca, CR-, La Seine à Ivry, 27×35, A2019/03/29 (iR15;R2,p394), former Doria collection. It seems a study, because it is very sketchy and quite small.

7IE-1882-43, Marine, étude
Moffett suggests with a perhaps a work auctioned at Sotheby’s in London 1985/06/26. Berson adds it is called ‘Falaise aux environs de Dieppe’. Probably: 1882ca, Falaise aux environs de Dieppe, 54×65, A1985/06/26 (iR13;iR14;R90II,p204;R2,p395).

Pastels :

7IE-1882-44, étude dans un jardin, pastel
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. To compare I render a pastel that was probably made later: 1886ca, La couseuse (Jardin à Epinay), 51×65, A2018/11/13 (iR11;R2,p395).

7IE-1882-45, Étude dans un jardin, pastel, appartient à M. P.
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. To compare I render a pastel that was probably made later: 1886ca, Mme Guillaumin lisant, pastel, 48×30, A2008/04/01 (iR11;iR15;R2,p395)

7IE-1882-46, Le pont Louis-Philippe, pastel
Compare no. 35. Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. I render two uncertain options: 1868, SDbr, Pont de Seine à Paris, pastel, 29×38, A2014/05/16 (iR11;R2,p395); and: 18xx, Pont sur la Seine, près d’un groupe d’usines, dr wc pastel, 17×22, Louvre (iR23;iR127;R2,p395;M5). Note: the last work has some similarities with the Draner drawing, see no.35.

7IE-1882-47, Petite fille, pastel
Moffett doesn’t give a suggestion. Berson omits this work. Huysmans (1883) reviews ‘but the eye of M. Guillaumin stays peculiarly restless when he contemplates the human face; his rainbow colours that he once provided reappear in his portraits and then brutally explode from top to bottom in his canvases.’ (R90I,p397), but it is not clear to which work he refers. As an uncertain option I render: 1878, SDbr, Portrait d’un jeune enfant, pastel, 47×30, A1999/07/08 (iR10;iR13;iR145;R2,p395).

7IE-1882-48, Étude, pastel
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. I render two uncertain options: 1880ca, La Seine à Ivry, pastel, xx, A2002/03/20 (iR11;R2,p395); and: 1880ca, Cribleur de sable (Sand sifter), pastel, 30×36, A2012/05/03 (iR11;R179,G15;R2,p395).

7IE-1882-49, Étude au bord de l’eau, pastel
Moffett doesn’t give a suggestion, nor does Berson. Armand Silvestre (1882/03/11) reviews ‘His pastel are almost all nice, particulairy those carrying the numbers 49 and 51.’ (R90I,p414). I render two very uncertain options: 1869, SDbr, La Bièvre, pastel, 27×20, PP Paris (iR127;iR48;iR10;R2,p395;R310,p8;M4); and: 1873ca, La Seine à Paris, pastel, 45×55, A2015/06/09 (iR11;R2,p395).

7IE-1882-50, Quai des Célestins, pastel
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. I render two uncertain options: 1882ca, Le Charrois au bord de la Seine, pastel, 48×63, PP Geneva (iR2;R179,G18;R2,p395;M144); and: 1880ca, La Seine à Paris, pastel, 39×49, A2018/06/05 (iR11;R2,p395)

7IE-1882-51, Carrière, pastel
Eng.: a quarry or stone pit. Moffett doesn’t give a suggestion, nor does Berson. Note: the same title as no.53. Armand Silvestre (1882/03/11) reviews ‘His pastel are almost all nice, particulairy those carrying the numbers 49 and 51.’ (R90I,p414) Henri Rivière (1882/04/08) reviewed ’the impression has serieus qualities’. (R90I,p409). I render an uncertain option, that also could apply to no.53: 1882, SDbl, Quai de la Seine à Paris, pastel, 53×69, A2009/11/05 (iR2;iR11;iR14;R2,p395).

7IE-1882-52, Paysage à la fosse Bazin, pastel
Eng.: landscape with a bazin pit / ditch / gorge. The meaning of ‘bazin’ is obscure, maybe bazaar; ‘bassin’ means pond / basin. I can’t find a location on Google maps. Compare 5IE-1880-75, Fosse basin à Fontenay. Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. To compare I render a later pastel: 1885ca, Women on the Banks of a River, pastel, 47×60, A2009/03/07 (iR2;iR15;iR11;iR10;iR235;R2,p395).

7IE-1882-53, Carrière, pastel
Moffett doesn’t give a suggestion, nor does Berson. Note: the same title as no.51. Henri Rivière (1882/04/08) reviewed ’the impression has serieus qualities’. (R90I,p409). I render an uncertain option, that also could apply to no.51: 1882ca (1xxx), Les quais de la Seine à Paris, pastel, 46×60, A2000/04/06 (iR11;R2,395).

7IE-1882-54, Parc d’Issy, pastel
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1872, SbrDbl, Issy, pastel, 44×52, PP Paris (iR127;iR10;iR347;R2,p395;M4).

7IE-1882-55, Jardin, pastel
Moffett doesn’t give a suggestion. Berson omits this work; there were no reviews. As an uncertain option I render: 1xxx, Jardin du Luxembourg, pastel, 48×63, A2018/12/07 (iR11;R2,p395)

7IE-1882-56, Bateaux sur la Seine, pastel
Moffett suggests with a perhaps a work in a private collection in Copenhagen. Berson adds it is called ‘Quai Henri IV’ and is suggested in Bodelsen, 1970,no.22. Compare: 6IE-1881-46, Quai Henri IV. There were no reviews. I render three very uncertain other options: 18xx, Péniches sur la Seine à Bercy, pastel?, xx, PP Paris (iR127;R2,p395;M4); 1871ca, Barges on the Seine, pastel, 39×55, PP Paris (iR10;iR195;iR127;R2,p395;M4); 1874, SDbl, Barge, pastel, xx, private (iR2;aR5;R2,p395).

 

The 8th ‘impressionist’ exposition 1886:

  • catalogue numbers 61-81
  • in total Guillaumin exhibited 21 works, including 8 portraits / figure paintings, 4 pastels.
    • 10x indication of place: Damiette (no.61+62+64+66+68+69+70+74+77), the river Yvette (maybe in Damiette) (no.73)
    • 6x indication of time, season or weather: 61+62+63+73+74+76
    • 1x a study: no. 72
    • 4x loans (appartient à…), of M. Mendez (no.68), M. Z(acharie) Astruc (no. 74), M. Berend (no. 75), m. Nunès (no.79).
  • See for the suggestions of Moffett (R2,p445). And for Berson (R90II,p244/5+264). They refer to the Catalogue Raisonné made by Serret & Fabiani (1971=R124).
  • Note: there are many reviews on Guillaumin and many with detailled decriptions of the paintings. It’s strange that Moffett and Berson didn’t suggest more works. I will try and start to repair this omission.
  • for the pictures see 1886.

Some reviews:
Paul Adam (1886/04) reviewed ‘To the portraits of this artist one would undoubtedly reproach the stiffness; … Women reading in front of apoplectic (red) dahlias; another sewing by a window illustrated by the straw thatched rustic roofs and a piece of sky that’s about to rain. Wonderful, the glow from the street that invades the appartment; but you can sense it’s so low and dark. –Against a cotton curtain with bouquets of roses a lady has posed; she’s got deep brown and intelligent eyes, the skin’s a little rough; her mouth is going to smile. ‘ (R90I,p428)
Jean Ajalbert (1886/06/20) reviews ”Elsewhere, Mr. Guillaumin seems to have healed himself in his own dark and abrupt way: I’m talking about two canvases where women read and sew; the mounts are littered with colourful reflections; here and there, red heads of dahlias, peonies swaying. It’s perfectly composed, and warm in tone, without excess. (…) Many portraits; unfortunately the artist’s vigour is sometimes exaggerated to the point of brutality.’ (R90I,p432).

Fénénon (1886/06/13-20) reviews ‘Huge skies: overcast skies, where clouds collide in the battle of greens, crimsons, violets and yellows; others, still in twilight, where from the horizon rises the huge ammorphic mass of low clouds that are streaked by sloping winds. Beneath these heavily overcast skies, hunchbacked, painted by violent and wide impastoes of the purple countryside alternating farming fields and pastures; trees clinging to slopes running down to houses surrounded by vegetable gardens, to courtyards and farms where the arms of the carriages stand.’ (R90I,p443)
Henry Fèvre in La Revue de demain reviews ‘Quite otherwise powerful in its sunny madness, in its congested coloration, Mr. Guillaumin’s painting is prismatic, everything shimmers, everything sweats with light. The lawn is golden, the shadow is of an intense purple; a vineyard tumbles down a hillside topped with fir trees, like a bishop’s robe.’  (R90I,p447).
Maybe these descriptions refer to no. 61, 69/70 or 77, four works that are not identified.
Gustave Geffroy (1886/05/26) reviewed ‘Damiette is the village of election of Mr. Guillaumin. He painted the thatched cottages, the interiors, the meadows, the gardens, the mornings, the sunsets, the summers, the winters. It is excellent to be so interested in a modest country, lost in the leaves, perfumed with the smell of the earth. Nothing more honourable for the village and for the artist. But is the painter sure that he has not betrayed the quiet village, that he has not transformed it into a romantic settlement, full of fireworks from his palette, that he has not put it in an atmosphere created by his eyes, an atmosphere where firecrackers burst, where tubes of colour burst. And yet, he knows how to make us love this Damietta between two wind stillnesses, when he takes off his multicoloured glasses and agrees to paint sober canvases, with solid planes and just half-tones.’ (R90I,p450).

1886 catalogue (R2,p445;R90I,p422/3;iR1):

8IE-1886-61, Paysage d’été à Damiette
Moffett suggests with a perhaps CR125 or CR141. Berson repeats this suggestion, but leaves the work not identified. This work is not described by one of the critics (R90I). I will render them both: 1885ca, CR125, Paysage (d’été) à Damiette, 60×73, A2003/02/05 (iR11;aR5;iR10;R2,p445), former Durand-Ruel collection. and: 1885ca, CR141, Paysage à Damiette, 65×92, xx (R124,no141;R2,p445), former Durand-Ruel collection. But I think, several other pictures are good alternatives.

8IE-1886-62, Crépuscule à Damiette
Eng.: twilight / sunset at Damiette. Moffett suggests with a perhaps 1885ca, CR144, Twilight at Damiette, 72×139, PP Geneva (iR10;iR59;iR64;R2,p444+459;R90II,p244+264;R124,no144;M144). Berson affirms this suggestion. Paul Adam (1886/04) reviews ‘Under such a twilight with purple clouds, such a hillside could not be subject to any other tint than the one posed; and yet the special nature of the soil and its fundamental colour shines through to reveal its particular reality.’ (R90I,p428) Emile Hennequin (1886/06/19) reviews ‘while, up to the frieze is hung a crépuscule, purple clouds on a clear green sky, which is one of the most strident harmonies of colour we know.’ (R90I,p454;R2,p459).

8IE-1886-63, Paysage, fin de l’hiver
Moffett doesn’t give a suggestion, nor does Berson. Jean Ajalbert (1886/06/20) reviewed ‘<Un paysage d’hiver> (A winter landscape) offers a gorge, with trees half uprooted, the reddish branches, the trunks twisted by the turmoil on the cracked earth…’ (R90I,p432).  Geoffroy didn’t describe this work. To compare I render two works that partly resemble the description of Ajalbert: 1. Compare: 1883ca, CR-, Palaiseau, Snow Effect and haystacks, 50×81, PP Geneva (iR2;iR22;R179,G22;R2,p445;M144). And 2. 1885ca, Snow at Crozant, 65×81, A2001/11/08 (iR2;iR11;R2,p445;R90I,p432).

8IE-1886-64, Chaumières à Damiette
Eng.: Thatched cottages in Damiette. Moffett suggests with a perhaps CR 105, 117 (=1885ca, CR117, Chaumière à Damiette, 46×55, xx (R124,no117), I don’t have a picture) or Gray no. 74. Berson repeats these suggestions, but leaves the work not identified. This work is not described by one of the critics (R90I). I assume CR104 also is an option: 1882ca, CR104, Chaumière à Damiette, 54×65, xx  (R124,no104), former  Durand-Ruel collection. I will render CR105: 1882ca, CR105, Chaumière à Damiette, 50×61, A1970/06/17 (R124,no105;R2,p445;R90II,p244). As a more uncertain option I also render: 1885, Village de Damiette, 71×84, A2008/05/08 (iR11;R2,p445).

8IE-1886-65, Portrait
Moffett doesn’t give a suggestion. Berson and the Van Gogh Museum in Amsterdam suggest CR191, which is dated 1889 by Serret & Fabiani, but was in the possession of Theo van Gogh before February 1888: 1886ca, CR191 (1889), Portrait of a young girl, 65×54, VGM Amsterdam (iR2;R90II,p244;M73). Paul Adam (1886/04) reviewed ‘Against a cotton curtain with bouquets of roses a lady has posed; she’s got deep brown and intelligent eyes, the skin’s a little rough; her mouth is going to smile. ‘ (R90I,p428) I think another work is a better option: 1885ca, the model (L’Italienne), 81×65, private (iR2), the model smiles, while the model of CR191 doesn’t seem to do so.
The Fénénon and the Ajalbert could refer to this catalogue number.

8IE-1886-66, Intérieur à Damiette
Moffett doesn’t give a suggestion, nor does Berson. Paul Adam (1886/04) reviewed (this or another work) ‘another sewing by a window illustrated by the straw thatched rustic roofs and a piece of sky that’s about to rain. Wonderful, the glow from the street and occupied the appartment; but you can sense it’s so low and dark.’ (R90I,p428). To compare I render a work where a woman is writing a letter near a window: 1885ca, the letter, 61×50, A2015/06/24 (iR2;iR11;R90I,p428;R2,p445).  

8IE-1886-67, Jeune fille lisant
Moffett suggests with a perhaps CR89: 1880ca, CR89, Femme lisant, 54×65, xx (R124,no89). Berson repeats this suggestion, but leaves the work not identified. Jean Ajalbert (1886/06/20) reviewed ‘Elsewhere, Mr. Guillaumin seems to have healed himself in his own dark and abrupt way: I’m talking about two canvases where women read and sew; the hills are littered with colourful reflections; here and there, red heads of dahlias, peonies swaying. It’s perfectly composed, and warm in tone, without excess. ‘ (R90I,p432). Paul Adam (1886/04) reviewed ‘To the portraits of this artist one would undoubtedly reproach the stiffness; … Women reading in front of apoplectic dahlias;’ (R90I,p428) Fénénon (1886/06/13-20) (maybe referring to no. 67, 66 and/or 65) reviewed ‘Amidst trees and flowers, under garden hats, cheerful maffles (maybe: rounded cheeks) read, sleeping, squeezing their flesh into willow armchairs.’ (R90I,p443). I couldn’t find a work that fits these descriptions. To compare I render a work made in 1888: 1888, SDbl, Woman knitting in a flower garden, 72×92, A2022/06/16 (iR390;iR10;R2,p445;R90I,p428+432+443).

8IE-1886-68, Prairie à Damiette; appartient à M. Mendez
Moffett doesn’t give a suggestion, nor does Berson. Paul Adam (1886/04) reviewed ‘Green and purple skies. In the full sunshine, a depth between the spines of the mountainous lands. Green-black lay rough silhouettes of trees; she carves on the green-yellow of the sunny grass. In the distance, pink scratches of humus lay down. Shredded foliage sometimes scorched. ‘ (R90I,p428) Henry Fèvre in La Revue de demain (maybe referring to no. 68) reviewed ‘A landscape, above all, an excellent fence, trees cut a dark green shadow on a bright yellow meadow; an almost red path, so chalky, it goes down winding; at the bottom, in the greenery of a valley, a patch of sand in the side of a hill gleaming with an orange, mahogany clarity; and the sky sparkles like a great chandelier, as if every breath of oxygen was a crystal flake, and reflects and multiplies the sun’s radiation tenfold. ‘ (R90I,p447). Geffroy maybe referred to this work writing ‘he takes off his multicoloured glasses and agrees to paint sober canvases, with solid planes and just half-tones ‘ (R90I,p450). I think that the following work fits very well the descriptions of Adam and Fèvre: 1885, CR137, Village sur le côteau, vallée de Chevreuse, 90×116, A2018/11/13 (iR11;iR14;R2,p445;R90I,p428+447).

8IE-1886-69, Jardin à Damiette
Moffett (repeated by Berson) suggests with a perhaps CR110 (1884ca, CR110, Jardin en Île-de-France, 60×73, xx (R124,no110;R2,p445;R90II,p245), former Durand-Ruel collection), or: CR67 (1878ca, CR67, Jardin et vieilles maisons, Île-de-France, 60×73, NCG Copenhagen (iR10;iR135;R124,no67;R2,p445;R90II,p245;M90). But this last work already was brought to Copenhagen in 1884. Still, I will render this work to compare. Compare also: 1887ca, CR155, Jardin à Issy-les-Moulineaux, 50×61, xx (R124,no155).  Berson leaves no 69+70 not identified. This work is not described by one of the critics (R90I).

8IE-1886-70, Jardin à Damiette
See no. 69.

8IE-1886-71, Les pêcheuses
Moffett doesn’t give a suggestion. Berson suggests a work 73x100cm large, auctioned 1919/03/28 at Hôtel Drouot in Paris as no.27 of which the present location is unknown. As far as I can see, this work was not in the 1971 Catalogue Raisonné (=R124). As an extra and uncertain alternative I render: 1885ca, CR-, Mme Guillaumin fishing, 65×80, private (iR10;iR327;R179,G31;R2,p445) =GP1919/12/03-987 Hazard collection; it (partly) fits the following reviews: Ajalbert (1886/06/20) reviewed ‘Lets cite <les Pêcheuses> on the edge of a clear stream flowing between piles of bluish foliage in a rageful day.’ (R90I,p432). ‘The Bat’ (1886/05/25) reviewed ‘a picture representing two women fishing in a park. The water is full of violet from the skies and green from the landscape; the night is in the trees, and stamps their ebony leaves upon a sky of infinite light and dying magnificence.’ (R90I,p436) . Fénénon (1886/06/13-20) reviewed ‘Embedded in grassy meadows, men and women are fishing; and in the shade of tree-like bushes, the moors of the little river grow in ellipses that the water carries away, and are reborn.’ (R90I,p443). To compare I render a pastel that looks similar to the reproduction Berson shows: 1903ca, Mme Guillaumin péchant avec sa fille Madeleine, pastel, 49×60, Axx (iR10;iR64;iR13;iR132;R2,p445;R90II,p245+264).

8IE-1886-72, étude
Moffett doesn’t give a suggestion. Berson omits this work. This work is not described by one of the critics (R90I). As a very uncertain option out of many I render: 1885ca, CR-, Landscape, Île-de-France, 21×32, A2009/02/12 (iR11;iR14;R2,p445). The paint does not appear to have been applied in a completely opaque manner and the painting is quite small; that makes it look like a study. This painting was quite recently made and maybe also in Damiette, like many of the works exhibited in 1886. 

8IE-1886-73, Bords de l’Yvette, le matin
Moffett doesn’t give a suggestion. Berson omits this work. This work is not described by one of the critics (R90I). The Yvette is a river south of Paris, see (iR4), it flows (from west to east) along Yvelines and Damiette and at Epinay-sur-Orge it flows in the Orge (iR9). As an uncertain option I render: 1885ca (1882-90ca), Damiette, Île-de-France, xx, A2003/10/21 (iR11;iR10;iR235;R2,p445). The painting depicts a stream and maybe also a morning sky.

8IE-1886-74, Damiette, paysage du matin; appartient à M. Z. Astruc
A loan by Zacharie Astruc. Moffett doesn’t give a suggestion, nor does Berson. This work is not described by one of the critics (R90I).  As a very uncertain option I render: 1884ca (or 1887ca), CR114, Chemin à Damiette (apple trees), 54×81 (or 61×100), Orsay (iR2;iR22;R3,p351;R124,no114;R2,p445;M1), former Personnaz collection. Maybe it also depicts a morning sky.

8IE-1886-75, Pêcheurs ; appartient à M. Berend
Moffett and Berson suggest with a perhaps CR122 in Musée d’Orsay: 1885, SDbr, CR122, Les pêcheurs, 81×66, Orsay (iR10;iR23;iR59;iR108;R3,p247;R2,p445;R90II,p245+264;R310,no91;M1). Fénénon (1886/06/13-20) reviews ‘Embedded in grassy meadows, men and women are fishing; and in the shade of tree-like bushes, the moors of the little river grow in ellipses that the water carries away, and are reborn.’ (R90I,p443) Henry Fèvre in La Revue de demain reviews ’the shade is as cool as the sun burns; the wheat is on fire; line-fishers, the Hettéma household, blue and prominent, are shaped at the water’s edge with a relief of material.’ (R90I,p447)

8IE-1886-76, Soleil couchant
Moffett doesn’t give a suggestion. Berson mentions a suggestion for CR20 = 1IE-1874-66, but leaves the work not identified. Jean Ajalbert (1886/06/20) reviewed ‘Look at his < soleil couchant>, liquefied in a windy sky, where copper clouds linger; not a breath stirs the treetops; the slumber of a hot day continues to weigh on the hamlet, and over there the paths descend into the imminent night. It falls like silence…’ (R90I,p432). Note the contradiction of the ‘windy sky’ and ‘not a breath stirs the treetops’. I think CR20 fits this description of Ajalbert quit good; I miss the ‘paths’ and ’the hamlet’. Paul Adam (1886/04) reviewed ‘Behind the foliage pushed back in the distance, as if by a vigorous release of the trunks, the bloody crimsons spread out in the overhanging starry sky. From there, down a red trail, where thick peasant women’s bodies move; and the darkness of their clothing catches wine-like reflections.’ (R90I,p428) I think this description does fit more ‘1885 (or 1888), CR145, SDbl, Road at Damiette, 60×73, MTB Madrid (M100;iR10;iR48;iR22;R2,p445;R124,no145)’, still I miss the stars and the clouds are less ‘copper’. ‘The Bat’ (1886/05/25) reviewed ‘… we have a hill side full of peasant life. There are the apple-trees, there are the cottages, and all is bathed in the violet shadows of the evening; and the glory of the sunset is a sort of benediction for the day’s work done.’ (R90I,p436). This discription contradicts CR20, where there is no hill or peasant life and affirms the Madrid painting. Henry Fèvre in La Revue de demain reviewed ‘A sunset burst into an iridescent spray like a collapsing vat of wine, into a clash of intricate colours that reverberate and repercut each other.’ (R90I,p447) Emile Hennequin (1886/06/19) reviewed ‘He exposes above a fireplace an immense landscape of farmland, taken at sunset that truly casts a yellow and red light;’ (R90I,p454). I think these reviews also affirm the Madrid painting better then CR20. Note: the date of the Madrid painting could also read as 1888, in that case my suggestion would be just to compare. But there is another work, that maybe even better fit the given descriptions: 1888ca, CR181, Road in Damietta, sunset, 73×100, A2005/11/03 (iR2;iR11;iR14;R124,no181;R2,p445;R90I,p428+436); I render it to compare, because it was probably made a bit later.

8IE-1886-77, Paysage à Damiette
Compare no. 61. Moffett doesn’t give a suggestion, nor does Berson. This work is not described by one of the critics (R90I). I render 3 (very) uncertain options: 1886ca, CR146, Damiette Road, 65×100, private (iR2;R124,no146;R2,p445); and: 1886ca, CR149, Chemin à Damiette, 54×65, A2018/10/11 (iR11;R179,G35;R124,no149;R2,p445); and: 1882-90ca, Landscape in Damiette, 60×92, A2016/10/20 (iR11;R124,p561;R2,p445).

8IE-1886-78, Portrait (pastel)
Moffett doesn’t give a suggestion. Berson omits this work. Jean Ajalbert (1886/06/20) reviewed ‘Many portraits; unfortunately the artist’s vigour is sometimes exaggerated to the point of brutality.’ (R90I,p432). I render two uncertain options: 1. 1885, SDbr, Italian woman, pastel, 59×44, A2017/03/23 (iR14;iR11;R2,p445); note: this suggestion corresponds my suggestion for no. 65. And 2:1886ca, Portrait of his son during breakfast, pastel, 53×37, MPP Geneva (iR10;R16,p161;R179,G33;R2,445;M144); note: if this is a portrait of his son Armand, the dating should be around 1893; this suggestion fits the ‘brutality’ of Ajalbert.

8IE-1886-79, Tête de jeune fille (pastel); appartient à M. Nunès
Moffett doesn’t give a suggestion. Berson omits this work. Jean Ajalbert (1886/06/20) reviewed ‘Many portraits; unfortunately the artist’s vigour is sometimes exaggerated to the point of brutality.’ (R90I,p432). As an uncertain suggestion I render: 1885, SDbl, Femme à la chemise bleu, pastel, 65×51, A2012/10/25 (iR11;iR15;R2,p445). 

8IE-1886-80, Enfant endormi (pastel)
Moffett doesn’t give a suggestion, nor does Berson. Jean Ajalbert (1886/06/20) reviewed ‘The very successful < l’Enfant endormi> whose heavy head comes off powerfully on the pillow. ‘ (R90I,p432). Rodolphe Darzens (1886/05) calls it a ‘lovely pastel’ (R90I,p439). To compare I render a later work: Compare: 1896ca, Portrait of André, pastel, xx, MPP Geneva (iR2;R179,G61;R2,p445;M144). Note: Guillaumin made a similar portrait of his daughter Marguerite, which must be dated around 1893 and an undated work of another child.

8IE-1886-81, Travesti (pastel)
Moffett doesn’t give a suggestion. Berson omits this work. This work probably depicts a woman dressed as a man. Jean Ajalbert (1886/06/20) reviewed ‘Many portraits; unfortunately the artist’s vigour is sometimes exaggerated to the point of brutality.’ (R90I,p432). I couldn’t find a work, that could give an impression of this work.

 

 

Guillaumin at other exhibitions:
Guillaumin never exhibited at the Salon. The Salon database indicates that he exhibited at other expositions. In 1877 there was a Mlle Pauline-Octavie Guillaumin who exhibited porcelain. (iR1)

Salon des Refuses:

SdR-1863
According to some sources Guillaumin exhibited at the Salon des Refusés in 1863 (R124,p565), but he was not in the catalogue.

S1872-R
Monneret (wrongly) states that Guillaumin stopped to submit to the Salon (R88II,p394).

Salon des Refusés 1873:
Note: not mentioned in the Catalogue Raisonné (1971=R124,p565).

SdR1873-333, Effet de neige par un beau temps.

SdR1873-334, Temps couvert.

 

 

1886, New York, “Works in Oil and Pastel by the Impressionists of Paris:
Durand-Ruel send in 7 landscapes of Guillaumin to the famous exhibitions of Works in Oil and Pastel by the Impressionists of Paris held in 1886 in New York (R124,p565;R1,p544;R4,p261;R179,p35;R3;aR3).

NY-AAG-1886-40, Plain of Châtillon, pastel or watercolour.

NY-AAG-1886-109, Route de Damiette.
Maybe:

NY-AAG-1886-117, View at Damiette.

NY-AAG-1886-118, Valley of the Yuette.

NY-AAG-1886-121, Paysage à Damiette.

NY-AAG-1886-130, Quai de la Tournelle.
Maybe: 1882, CR103, SDbr, Quai de la Tournelle, 73×100, Ordrupgaard in Charlottenlund-Copenhagen (iR10;iRx;R124,no103;M93), former Durand-Ruel collection.

NY-AAG-1886-137, Quai Bourbon à Paris.

 

Salon des Indépendants:
Several sources state that in 1884 Guillaumin joined the Groupe des Indépendants in May and the first Salon des Indépendants in December (R179,p32+46+47;R1,p503+510;R3;aR4). But the catalogue of the Groupe des Indépendants, doesn’t confirm that Guillaumin joined in May 1884 (iR40). Several sources also mention that he exhibited at the 1st Salon des Indépendants 1884/12 (R124,p565).  (R1,p503+510;R179,p32+46;R3;aR4). But this is not confirmed by Lobstein (R229,p806+807), nor by Coquiot (R358,p199).

The 6th exhibition of the Salon des Indépendants in 1890 (R229,p806/7):

6SdI-1890-416, Femme et enfant dans une prairie.
Review in Journal des Artistes 1890/04/06, p101/2 (iR40): ‘The group of a woman in a bonnet with her child in the foreground, near a large pile of sand.’ This could refer to: 1892ca, CR237, Mme Guillaumin and her daughters, 66×81, A2012/06/21 (iR2;iR15;iR11); but in 1890 only Madeleine was born (aR4;iR4;R179,p44) and this picture depicts two children.

6SdI-1890-417, Ivry, pastel

6SdI-1890-419, Paysanne d’Auvergne.

6SdI-1890-420, Cour à Janville.

6SdI-1890-421, Quai d’Austerlitz.

6SdI-1890-422, Meules de foin dans une prairie, le matin.

6SdI-1890-423, Pêcheuse au bord de l’Orge.

6SdI-1890-424, Cantonnier.

6SdI-1890-425, Quai de la Rapée, Décembre.

The 7th exhibition of the Salon des Indépendants in 1891 (R229,p807):

7SdI-1891-641, Le travail du sable, Cribleurs.

7SdI-1891-642, Vieille femme faisant des liens de paille.

7SdI-1891-643, Maraudeurs, Quai de la Rapée.

7SdI-1891-644, Femme et enfant dans un jardin.

7SdI-1891-645, Le travail du sable, Chantier.

7SdI-1891-646, Route de Jouy à Breuillet.

7SdI-1891-647, Vaches au repos.

7SdI-1891-648, Femme dans un jardin.

7SdI-1891-649, Crépuscule.

7SdI-1891-650, Coteaux à Brétigny, le soir.

 

Salon de la Société nationale des Beaux-Arts = SNBA:
Guillaumin exhibited just one time with the Salon de la Société National des Beaux-Arts (=SNBA) (iR1). In 1920 he mentioned he was disappointed that he wasn’t chosen as a member (R179,p66).

SNBA-1897-1862, Marine à A gay (sic) (lithographie); (Appartient à la galerie Vollard)

 

Exposition Universelle + Centennials:
Guillaumin exhibited at the Exposition Universelle in 1900 in Paris and in 1913 in Ghent and in 1912 at a Centennial exhibition in Saint-Petersbourg.

1900, Centennale Exposition Universelle in Paris:
EU-C-1900-348, Paysage (à M. Pontremoli) (R231/iR40;R124,p565).

1913, Ghent, Exposition Universelle:
Ghent-EU-1913-207, La Vallée de la Sedelle.
Ghent-EU-1913-208, Le Moulin des Bouchardonnes.

1912, Saint-Petersbourg, Centennial exhibition:
Saint-Petersbourg-1912-106. Premiers jours d᾿avril.
Saint-Petersbourg-1912-107. Nature morte.
Saint-Petersbourg-1912-108. La Liseuse [Reading Woman]  [Duret in Paris]
Saint-Petersbourg-1912-109. other medium.

 

Salon d’Automne:
Guillaumin exhibited at the Salon d’Automne in 1904 + 05 + 06. From 1904-07 he also was a sociétaire, part of the commitee; from 1906-1908 he was ‘president de sections peinture’; in 1904 he exhibited 12 works, including 5 depicting Zaandam, where he had painted from September 1903 till the End of June 1904. In 1926 there was posthumous a large retrospective organised. (R239;R179,p58+70;R124,p565).

1904, 2nd exposition of the Salon d’Automne (iR1):

2SdA-1904-571, Ile Besse (Agay).

2SdA-1904-572, Moulin de la Folie.
Eng.: Mill of madness. Moulin de la Folie is a street in different places in France. Probably it is ment to be a mill in Crozant, see maps.

2SdA-1904-573, Le gouffre Saulnier en hiver; Appartient à M. Blot
Eng.: The Saulnier abyss in winter.

2SdA-1904-574, Gelée blanche.

2SdA-1904-575, Barrage des protestants.
Eng: protestant roadblock.

2SdA-1904-576, Bords de la Cure.
La Cure is a river in France, see (iR4).

2SdA-1904-577, Zandaam.

2SdA-1904-578, Zandaam.

2SdA-1904-579, Zandaam; Appartient à M. Personnaz

2SdA-1904-580, Bords de la Creuse.
La Creuse is a river in France, see (iR4).

2SdA-1904-581, Zandaam.

2SdA-1904-582, Zandaam.

1905, 3rd exposition of the Salon d’Automne (iR261;R124,p565):

3SdA-1905-682. Paysage, painting

3SdA-1905-683. Paysage, painting

3SdA-1905-684. Paysage, painting

3SdA-1905-685. Paysage, painting

3SdA-1905-686. Paysage (chemin de la folie), painting

3SdA-1905-687. Paysage, painting.

1906, 4th exposition of the Salon d’Automne (iR261):

4SdA-1906-705. Paysage à Damielte (sic) (1885)

4SdA-1906-706. Ivry; (M. Goupy)

4SdA-1906-707. Paysage.
4SdA-1906-708. Paysage.
4SdA-1906-709. Paysage.
4SdA-1906-710. Paysage.
4SdA-1906-711. Paysage.

1926, exposition of the Salon d’Automne:
In 1926 there was a large retrospective of Guillaumin at the Salon d’Automne, with 112 works (R179,p70).
Reviews in L’Amour de l’art (=R356=iR40,) by George Waldemar (p381) and (p387).

 

Guillaumin at Les XX and La Libre Esthétique:
Guillaumin exhibited in Brussels with Les XX in 1891 and at La Libre Esthétique in 1908 +10 +13 (R124,p565;iR261).

8XX-1891-?
Guillaumin was hardly noticed (R3;aR3;R179,p47;R124,p565).

3LE-1896-? (iR40)

15LE-1908-100. Le Rocher Gaupillat; Méditerranée.
15LE-1908-101. Bords de la Creuse.
15LE-1908-102. Vallée de la Sédelle à Crozant.

17LE-1910-105. Rochers à St-Palais-sur-Mer.
17LE-1910-106. Matin à Pontcharra.
17LE-1910-107. A Genêtin (Creuse).

20LE-1913-101. Rochers au Trayas.
20LE-1913-102. L’île Besse; Agay.
20LE-1913-103. Chêne-vert; matin.
20LE-1913-104. Le Trayas.
20LE-1913-105. Lisière du bois de chênes-verts.

 

Guillaumin at regional exhibitions:
Guillaumin joined several regional exhibitions.

Toulouse, Salon de l’Union artistique:
Toulouse-1906-222, Paysage à Zaandum (sic) (Hollande) ; 1000 [francs]
Toulouse-1906-223, Ruines de Crozant, fin d’automne ; 800 [francs]

Toulouse-1907-238, Pêcheuse ; 1000 [francs]
Toulouse-1907-239, Quai d’Austerlitz ; 1000 [francs]

Le Havre, Cercle de l’art moderne:
Le Havre-1907-26, Chemin des Gouttes (neige).
Le Havre-1907-27, Moulin de Jonon.

Strasbourg, Château des Rohan:
1907/03/02 – 04/02: L’Exposition d’Art Français Contemporain au Chateau Des Rohan in Strasbourg. Maybe all works were loans by M. Bernheim. (iR261).
Strasbourg-1907-128, Vue de Rouen.

Pau, 1922:
The weekly Pau-Pyrénées (1922/04/08) reviewed that Guillaumin showed two landscapes of the Creuse at an exhibition at Le Salon de Pau (iR40).

 

Guillaumin at international exhibitions:
Guillaumin joined several international exhibitions, that were sometimes called “impressionist“.

1888/10/30 Guillaumin joined an exhibition of Impressionists in Copenhagen (R5,p170).

1898, London, International Society of Sculptors, Painters and Gravers:
London-1898-3, Child’s Head; lithographie en couleurs

London-1898-9, The Red Rock; lithographie en couleurs

1906/03/16 – 06/?, Berlin, Paul Cassirer, ‘Französische Meister’ (iR261):
Cassirer, Berlin-1906-10, Die Mühle von Crozant.

1907/05/01-31, Ausstellung französischer Kunstwerke in Stuttgart (iR261):
Stuttgart-1907-112. Ansicht von Rouen.

1907, October – November: 23th Exhibition of the Union of Fine Artists Manes in Prague “Francouzští impressionisté”.
The works of Guillaumin were shown in the 6th and last room. It is unclear in what currency the amounts are in. (iR261).

Prague-1907-VI.140. Jinovatka [Frost]  1000.

Prague-1907-VI.141. Jarní jitro [Spring Morning]  1400

Prague-1907-VI.142. Marina [Marina]  1200

1908/10/01 – 11/01, Serie Französische Impressionisten, Kunsthaus Zurich (iR261).
The works of Guillaumin were listed under “Gruppe der Aeltern.”

Zurich-1908-7. Der Quai St. Bernhard, Paris 1890;  Galerie Durand-Ruel & Fils

Zurich-1908-8. Landschaft in La Querlière 1897;  Galerie Durand-Ruel & Fils

Zurich-1908-9. Sitzendes Mädchen, Privatbesitz

1909/November, Eröffnungs-Ausstellung Moderne Galerie (Heinrich Thannhauser) München (iR261).
Note: there was small exposition of “Impressionisten” in the Oberlichtsaal, the numbers 11, 12 and 15 were shown there.

Munich-1909-11*, Rote Felsen bei Agay.

Munich-1909-12*, Alter Weg in Crozant.

Munich-1909-13, Mühlen in Zaandam.

Munich-1909-14, Die Ruinen.

Munich-1909-15*, Les Rabines im Schnee.

1913/March-April, Kollektion Moderner Franzosen at the Arnot gallery in Vienna (iR216):

Vienna-1913-14, Meerbusen im Mistral.

1913, March-June: Prima Esposizione Internazionale d’Arte della “Secessione”, Palazzo dell’Esposizone, Rome. There was a separate room “Sala degli Impressionisti”. (iR261):

Rome-1913-3-9. Vue de Rouen; Bernheim Jeune, Paris

Rome-1913-3-17 . Moulin à Bouchardon; Bernheim Jeune, Paris

 

Guillaumin in solo exhibitions:

1888, La Revue Indépendante, Paris:
1888/05/01 Guillaumin had a first solo-exhibition in the building of La Revue Indépendante (R5,p162;R3;R21;aR3;R124,p565).

1892, Goupil gallery, Paris (R124,p565).

1894/01/20 – 02/10: Exposition Tableaux et Pastels de Armand Guillaumin at Durand-Ruel gallery, Paris
With 64 paintings (54 were sold)  and 42 pastels (aR18;R21;iR26;iR40;aR4;R179,p54;R124,p565).
There was a positive review in Le Petit Parisien (1894/01/26) (iR40).

1896/02/14 – 02/29: Durand-Ruel gallery, Paris
Source: Journal des artistes, 1896/02/16, p1347 (iR40) + 1896/02/23, p1356 (iR40).

1898/04/16 – 30, Durand-Ruel gallery, Paris: Exposition des oeuvres de M. Armand Guillaumin.
(Journal des artistes, 1898/04/24, p2260 (iR40);R21;aR4;R179,p54;R124,p565).

1901/05/06 – 20: Exposition Guillaumin at Galerie Bernheim-jeune in Paris (iR26)

1907/03/06 – 23: Exposition Armand Guillaumin at gallerie Druet.
Source: Journal des artistes, 1907/03/10, p5362 (iR40) + L’Occident, 1907,p110 (iR40).

1909/05/17 – 29, Exposition Armand Guillaumin at the Druet Gallery in Paris. (iR261;R124,p565)
There were 60 art-works exhibited.
Catalogue (iR261): “Exposition Armand Guillaumin.” In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Mar 6, 2021. http://exhibitions.univie.ac.at/exhibition/828.
42 paintings: 1.Les Ruines. Gelée blanche / 2. Coup de mistral / 3. Rocher Gaupilla / 4. Jardin Gaupilla / 5. La Folie / 6. Novembre. 1907 / 7. Baigneurs / 8. Rocher Gaupilla / 9. Genêtin / 10. Ile Besse / 11. Rocher des Bouchardonnes / 12. Matin. Bords de la Creuse. / 13. Novembre. 1908. / 14. Baigneurs / 15. Puy Barriou. Gelée blanche. / 16. Gelée fondante / 17. Bruyères fanées. Le soir. / 18. Vieux Chemin. Neige. / 19. Les Rabines. Neige. / 20. Le Trayas. 1907. / 21. Octobre. 1906. / 22. Brouillard. Soleil levant. / 23. Puy Barriou. Neige. / 24. Val-André / 25. Val-André. Le matin. / 26. Les Ruines. Novembre. / 27. Neige. Le soir. / 28. Vieux Chemin. Octobre 1907. / 29. Pré Betout / 30. Petit Brouillard / 31. Avril. 1906. / 32. Neige. Le soir. / 33. Soleil levant / 34. Février. Le soir. / 35. Neige fondante / 36. Gelée blanche / 37. Rocher de l’Écho / 38. Bruyères fanées. Le matin. / 39. Neige. Le matin. / 40. Pornic. Le matin. / 41. Pornic. Le soir. / 42. Intérieur.
18 pastels: 43. Pornic. Le matin. / 44. Pornic. Le matin. / 45. Intérieur / 46. Femme malade / 47. Automne / 48. Intérieur / 49. Lardy / 50. Quai de la Rapée / 51. Quai d’Austerlitz / 52. Quai d’Austerlitz / 53. Intérieur / 54. Fillette cousant / 55. Hollande. 1904. / 56. Crozant. 1908. / 57. Crozant. 1900. / 58. Breuillet. 1890. / 59. Saint-Père. 1905. / 60. Moret. 1902.

1909, Druet gallery, Paris (R124,p565).

1911 Eugène Blot gallery, Paris (R124,p565).

1913, exhibition at Galerie Montaigne (théâtre des Champs-Elysées):
Sources: announcement in the Journal des débats politiques et littéraires 1913/11/29 (iR40); short review in Lemouzi (organe mensuel de l’Ecole limousine félibréenne) of 1913/12/01 noting that Guillaumin showed landscapes of Crozant, the valleys of the two Creuses and of La Sédelle with a marvellous colouring (iR40).

1921/01/21 -?: exposition rétrospective des oeuvres de [Armand] Guillaumin at galerie Haussmann in Paris (iR26).

1922/04/03 – 22: Durand-Ruel Gallery in New York (aR19=iR19)
Exhibition of 18 paintings

1925, at Bernheim-Jeune.
Sources: L’amour de l’art (revue mensuelle), 1926/01/01 (=R356=iR40): “his canvases became ” clogged”. The colour zones have lost all their original intensity. The recent paintings have neither the transparency nor the tightness of his early works.” (R356,p116). In the review on the Salon d’Automne of 1926 George Waldemar mentions that several were exhibited at Bernheim the last year (R356,p381).

1926, at Morin-Bénezit.
L’Amour de l’art (1926) remarks that a collection of paintings was exhibited (R356,p387=iR40).

 

 

Guillaumin at exhibitions at Galleries, Musea, etc.:

1887, Restaurant at L’Avenue de Clichy, Paris.
There was an exhibition with works of Guillaumin (R124,p565).

1888, ?
Guillaumin exhibited with Pissarro and Van Gogh (aR3).

1888, Boussod et Valadon, Paris (R124,p565).

1895/12/26 – 1896/01/?, Bing gallery, l’Art Nouveau: (iR40)

Bing-1895-95, Vue de Paris.

Bing-1895-96, Meules.

Bing-1895-97, Paysages à Boigneville.

Bing-1895-98, Marine à Saint-Palais.

1901, Bernheim-Jeune gallery, Paris (R124,p565).

1907/11/14-30, Fleurs et Natures Mortes, exhibition at Bernheim-Jeune in Paris (iR261):

BJ-1907-32. Pichet et pommes.

BJ-1907-33. Bouteille et pommes.

1907/12/10-31, Exposition de 120 Tableautins, Peintures, Aquarelles, Pastels et Dessins at the Eug. Blot gallery in Paris (iR261).

EB-1907-20. Quais à Ivry.

EB-1907-21. Le Verdelet.

EB-1907-22. Les Chaumières.

EB-1907-23. La Liseuse, pastel.

1907/12/16 – 1908/01/04, Portraits d’Hommes at Bernheim-Jeune in Paris (iR261).

BJ-1907/08-62. Son portrait.

1908, Rosenberg gallery Paris (R124,p565).

1909/11/13 – 12/04, Natures Mortes et Fleurs at the Eug. Blot gallery in Paris (iR261).

EB-1909-12. Pommes et Cruchon.

EB-1909-13. Les Biscuits.

1911/06/26 – 07/13, “L’Eau”, exhibition at Bernheim-Jeune in Paris (iR261).

BJ1911/06-25. Crozant.

1911/07/20 – 08/05, “La Montagne”, exhibition at Bernheim-Jeune in Paris (iR261).

BJ1911/07-23, Le pont Brigand et les ruines.

1912, Sommaire des Peintures et Sculptures de l’École Contemporaine exposées dans les Galeries du Musée National du Luxembourg (iR261).
Catalogue: “Sommaire des Peintures et Sculptures de l’École Contemporaine exposées dans les Galeries du Musée National du Luxembourg.” In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Dec 1, 2022. http://exhibitions.univie.ac.at/exhibition/1244.

MNdL-1912-235. Le moulin de la Folie à Crozant.
painting, 93 x 74 cm  “Don de M. Blot”

MNdL-1912-236. Le moulin des Bouchardonnes.
painting, 94 x 115 cm  “Don de la Société des Amis du Luxembourg”

1914/06/08 – 16: Le Paysage du Midi exhibition at Bernheim-Jeune in Paris (iR261).

BJ1914-28. Les rochers d’Agay.

 

Guillaumin in auctions sales:

1907/03/02-04, Auction sale George Viau at Durand-Ruel  (iR261):

DR1907/03/02-21. Paysage; Damiette (Seine-et-Oise) 1885
painting, toile, 90 x 116 cm  “Au premier plan, une prairie ; à gauche, un coin de bois projetant sur l’herbe une ombre chatoyante aux contours irréguliers. A droite, une rangée d’arbres au pied d’une colline où monte un chemin sinueux. Vers le fond du paysage accidenté, quelques maisons sont adossées au flanc d’un coteau ; plus loin, la ligne des collines s’étend jusqu’à l’horizon. Ciel bleu parsemé de nuages. Signé et daté : 85.”

DR1907/03/02-22. Vallons de la Creuse (Mars 1897)
painting, toile, 73 x 100 cm  “Dans une site accidenté limité vers la gauche par de hautes collines, quelques grands arbres dominent de leurs cimes encore dénudées toute l’étendue du paysage. A droite, dans un repli de terrain, une prairie où paissent deux vaches. Plus loin, les terrains labourés montent jusqu’au village. Effet du soir. Signé à gauche.”

DR1907/03/02-23. Rochers de Génetin sur la Creuse.
painting, toile, 73 x 92 cm  “Reflétant les grands nuages qui traversent le ciel bleu, la Creuse occupe tout le premier plan. A droite, la masse sombre d’un grand rocher surplombe la berge verdoyante. Dans le fond, une maisonnette égaie de son toit rouge la verdure qui couvre le flanc d’une colline dont le sommet est occupé par une longue rangée d’arbres. Signé à gauche.”

DR1907/03/02-24. Les Bessons vus de la Baumelle (Méditerranée, 1893)
painting, toile, 73 x 92 cm  “Au premier plan, à droite, sur la pointe de rocher s’avançant dans la mer, quelques pins maritimes aux branches tordues. Plus loin, à gauche, sous le ciel azuré, les îlots rocheux d’un promontoire aux contours blanchis par l’écume vagues qui viennent s’y briser. Signé à droite.”

DR1907/03/02-25. Écluse du Pont Charrant (Creuse); Gelée blanche, 1899
painting, toile, 65 x 81 cm  “La rivière est bordée vers le milieu du paysage par un grand arbre aux feuilles jaunies par l’automne. A gauche et au premier plan, la berge rocheuse enserre le barrage d’où les eaux bouillonnantes s’échappent couvertes d’écume. Les premiers rayons du soleil viennent dissiper le givre qui couvre en partie la berge et les collines du fond. Signé à droite.”

DR1907/03/02-26. Environs de Paris; effet de neige.
painting, toile, 54 x 65 cm  “Une route couverte de neige, aux ornières bouseuses, bordée vers la droite de maisons devant lesquelles s’aligne une rangée d’arbres rabougris. A gauche, au delà d’un terrain vague, un groupe de constructions à proximité d’une voiture qui se dirige vers le premier plan où la route oblique vers la droite. Ciel clair, estompé de légers nuages. Signé à gauche.”

DR1907/03/02-27. Printemps (Vallée de Chevreuse)
painting, toile, 65 x 81 cm  “Au premier plan, un terrain où le soleil d’avril verdit les premières pousses. Plus loin, un champ labouré, où sont espacés quelques arbres fruitiers, domine le vallon qui s’étend vers la droite jusqu’au pied d’une colline. Signé à droite.”

DR1907/03/02-28. Printemps (Saint-Chéron); Mai 1892
painting, toile, 60 x 73 cm  “Un grand pommier occupe la gauche d’un champ labouré et sur les terrains du premier plan apparaît l’herbe nouvelle. Au delà des champs, près des coteaux limitant le fond, une meule ; plus loin, vers la gauche, deux vaches gardées par une femme. Nuages blancs dans le ciel bleu. Signé à droite.”

DR1907/03/02-29. Paysage.
painting, toile, 50 x 61 cm  “Une prairie submergé, où sont espacés quelques peupliers menus aux branches dépouillées, s’étend jusqu’au pied d’un coteau où l’on aperçoit une ferme. Plus loin, sur une colline d’où un chemin descend vers la vallée, les maisons et le clocher d’un village. Légers nuages dans le ciel clair. Signé à droite.”

1907/03/19-22, 2nd Auction sale George Viau at Durand-Ruel  (iR261):

DR1907/03/19-35. Crozant. le Pont Brigand sur la Sédelle; après-midi, Septembre 1893.
painting, toile, 81 x 65 cm  “La rivière s’élargit vers le premier plan, où elle baigne de sa nappe écumeuse les blocs de rocher éboulés près de la berge. A gauche, sur une éminence de terrain rocailleux, un bouquet d’arbres au feuillage doré par l’automne. Plus loin, dans le vallon limité à droite par des coteaux, un pont rustique, à balustrade de bois, traverse la rivière. Signé à gauche.”

DR1907/03/19-36. Crozant, prairie des Granges. Juillet 1882.
painting, toile, 50 x 61 cm  “Dans une clairière abritée au fond par le versant d’une colline, le soleil, à son déclin déjà, projette sur la terre de larges bandes d’ombre. Au premier plan, à proximité d’un buisson, un pommier. Signé à droite.”

DR1907/03/19-37. Le Quai d’Austerlitz, Mars.
painting, toile, 40 x 62 cm  “Au premier plan, sur le fleuve, trois péniches amarrées bord à bord détachent leur haute mâture sur le ciel clair où passent de grands nuages rosés. Plus loin, le long de la berge qui s’étend sur la droite, d’autres bateaux et une grue à vapeur. Signé à droite.”

DR1907/03/19-38. La Rue de Clamart à Vannes. Juin 1873; 4 heures de l’après-midi.
painting, toile, 61 x 50 cm  “Signé à gauche.”

DR1907/03/19-125. Les Gerbes de blé.
pastel, 51 x 65 cm  “Disséminées dans les champs qui s’étendent au loin, les gerbes blondes resplendissent sous le chaud soleil. Signé à gauche.

1910/11/22+23, sale collection de M. Albert Bernier at Hotel Drouot in Paris (iR261).

HD1910/11/22-21. Saint-Sauves 1900.
painting: oil, 54 x 67 cm  “Le village, vu de la hauteur, est couvert de neige. Devant un fond de collines blanches, deux maisons de briques rouges et des arbres dénudés. […] Signé en bas à gauche. Daté sur le châssis : février 1900.”

HD1910/11/22-22. Le puy Bariou (Crozant) 1899.
painting: oil, 54 x 65 cm  M. Albert Bernier  “Un paysage accidenté et boisé avec, à gauche, un grand arbre aux nombreuses ramures. […] Signé en bas à droite. Daté sur le châssis : décembre 1899.”

HD1910/11/22-23. Les ruines à Crozant 1896.
painting: oil, 60 x 73 cm  “Des ruines, dorées par le soleil, au déclin ; le pont Brigand des peupliers aux feuilles jaunies par l’automne. La rivière se moire de bleus profonds et se tache d’écume. […] Signé en bas à gauche. Daté sur le châssis : octobre 1896.”

HD1910/11/22-24. L’Yonne à Villeneuve 1902
painting: oil, 55 x 65 cm  “Un coude de l’Yonne avec, à droite, une rive plantée d’arbres. De hautes herbes dressent leurs faisceaux sur la rivière. […] Signé en bas à droite. Daté au verso de la toile : octobre 1902.”

1914/05/09-12, Collection Roger Marx. Tableaux, Pastels, Dessins, Aquarelles, Sculptures, sale at the Manzi-Joyant gallery in Paris (iR261):
MJ1914/05/09-28, La Vallée de la Sédelle.
painting, Toile, 65 x 80 cm  “A gauche, au fond d’une gorge, la rivière se divise en méandres bleus parmi les roches ; plus loin, la berge rousse monte brusquement. Au premier plan, quelques arbres grêles et, vers la droite, des taillis épais, aux feuillages dorés par l’automne. Au centre, au delà des arbres, trois maisons à toits de tuiles rouges. Ciel bleu parsemé de nuages rose-clair. Signé à droite : Guillaumin.”

 

Recommanded citation: “Armand Guillaumin, account of his exhibited works. Last modified 2023/03/18. https://www.impressionism.nl/guillaumin-account/