Lebourg, account

 

 

Impressionism, a historical reconstruction:

Albert Lebourg

(1849-1928)

Account

of his exhibited art-works

 

Introduction:
On this page you will find an account of the works that Albert Lebourg exhibited at the 4th and 5th ‘impressionist’ exposition in 1879 + 1880, at the Salon and at the Société Nationale des Beaux-Arts and other exhibitions. See links for the paintings and for the drawings he exhibited in 1879 and 1880 and at the Salon and other exhibitions and a topographical overview. See at the bottom of the main page on Albert Lebourg for the used sources.

 

The fourth ‘impressionist’ exposition 1879:

  • catalogue numbers 108-137
  • J. de Tarade mentions the 10 charcoal drawings and the 20 oil (studies) and then follows with ’to which several have just been added’, but this remark is vaque and isn’t affirmed by other sources. (R90I,p245). It also could mean that works that were in the catalogue, were hanged during the exposition. So I assume that Lebourg didn’t exhibit additional works outside the catalogue. Still, Monneret suggests that Lebourg showed 32 art-works (R88I,p426).
  • in total  Lebourg (A.) exhibited 30 works; including 7 marines (no.108+120-123+126+127); 10 drawings, probably all figure drawings.
    • 16x indication of place; 8x Alger (including 5x port d’Alger=no.115-119); 2x Algerie; 3x Rouen (no.120-122); 
    • 2x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • Moffett makes just one suggestion for no.119 (R2,p268), Berson follows this suggestion and adds suggestions for nos. 130 + 131 + 134 (R90II,p113/4+132)
  • see link for the exhibited paintings and drawings.

Reviews:
Louis Besson (1879/04/11) reviewed in L’Evenement ’the drawings of M. Lebourg’ (R90I,p213).
E.C. (=Emile Cardon) (1879/04/11) reviewed in Le Soleil ‘There are also good drawings of M. Lebourg, which we’ll come back to later, along with some of the other works on display,…’ (R90I,p214)
Duranty (1879/04/19) reviewed in La Chronique des arts et de la curiosité ‘The excellent charcoal drawings of M. Lebourg’ (R90I,p219)
Gérôme (1879/04/26) reviewed in L’Univers illustré ’the charcoals of M. Lebourg’ (R90I,p221)
Henry Havard (1879/04/27) reviewed in Le Siècle ‘One of the rooms is quite dark, and that’s a shame, because there are some good charcoals by M. Lebourg (…). The charcoals of M. Lebourg, to be perfect, just need a little more restraint. The same criticism applies to a whole series of painted studies, that M. Lebourg shows in another room. These studies are bright and bold in colour, with a delicate, fine tonality; a little tighter, they would make excellent paintings.’ (R90I,p223)
Louis Leroy (1879/04/17) reviewed in Le Charivari ‘The black portrait drawings of M. Lebourg, too loose, obviously, are nevertheless curious in their understanding of the effect. Seen from a pistol range, there’s nothing to take back.’ (R90I,p228)
Le Petit Moniteur universel (1879/04/11) reviewed ‘we have particularly remarked a Marine and charcoals by Lebourg’ (R90I,p235).
J. de Tarade placed 2 reviews in L’Europe artiste.
1879/04/27 he reviewed ‘But, as we said earlier, what is M. Lebourg doing here with his eight remarkable charcoal drawings, which could be signed: Ribbot? At the Salon, they would be at their place. Drawing, powerful hues, finesse, nothing is missing. What to say more? How we are surprised. His two little marine studies have qualities. If he continues like this, he’ll quickly give up, as Messrs Renoir, Sisley and others have already done.’
1879/05/04 he namely and extendedly reviewed on Lebourg: ‘The entries of M. A. Lebourg are those for whom we have freely stopped. His ten beautiful charcoals and his twenty studies in oil, to which several have just been added, have truly charmed us. We repeat what we wrote here the other day. How did M. Lebourg, with such qualities, come to stray here? His place at the Salon is assured, and he won’t stay long with those who, for the most part, are still in the infancy of their art. We know the excuse of M. Lebourg. He has been given a very bad place at the Salon of last year: serious trouble for an artist who wants to be seen and judged; whereas here, Avenue de l’Opéra, his entries are perfectly placed and in full light. For the public to judge. Still, these marine and landscape studies, so simply interpreted, show M. Lebourg’s dominant qualities as a true, sincere and essentially original talent. They are just studies, there is not one painting: they are rapidly captured impressions, easily executed, for the artist, who sometimes completes them and turns them into a true work of art – who, mostly, keeps them as a souvenir, useful on many occasions. Those here are the most pleasant, air flows freely through his landscapes and seascapes; the colour is transparant, the hues are fine and delicate. Some are are brushed in a very violent way: but step back a little, and, as the note is so accurate, you’ll feel one of those piercing impressions that can only be rendered by a true artist. We recommend with pleasure the nos 120, 121, 122, 123, 125 et 127. – L’intérieur de la mosquée Sidi ab der Bhaman, à Alger (no 112), is a sketch of superb richness of colour. – there’s a hint of the much-missed Henri Regnault and of Decamps- As for the charcoals of M. Lebourg, there are portraits full of expression, life and sentiment. Again, the place of M. Lebourg is at the Salon between young artists to whom conscientious work, combined with their natural qualities, ensures an honorable future.’ (R90I,p244/5)
X. (1879/05/09) reviewed in Le Journal des arts ‘M. Lebourg has send in beautiful charcoals’ (R90I,p252).
Note: none of the reviews clearly describes an art-work; most reviews just shortly refer to his charcoals.

1879 catalogue: (R2,p268/9;R90I,p206/6;iR1)

4IE-1879-108, Marine
Eng.: seaview. Compare no. 120-123. There were no reviews. (R90II,p113) J. de Tarade explicitly mentions 2 little marine studies. Note: in total Lebourg exhibited 7 marines in 1879: no. 108 +120 + 121 + 122 + 123 + 126 + 127 and 1 in 1880: 5IE-1880-85, Marine, Rouen. I render two uncertain options: 1877, SDbl, Le vieux pont de Sèvres (Seine), 31×47, A2002/10/22 (iR11;iR2;R2,p268); and: 1873, Picking berries at the Berck cliffs, 39×29, A2006/11/30 (iR11;R2,p268) .

4IE-1879-109, Une rue à Alger
4IE-1879-110, Une rue à Alger
Eng.: a street in Alger. Berson suggests with a perhaps 1875, SDbr, Une rue à Alger, 46×37, MBA Rouen (HW;iR2;R90II,p113;M12), but leaves it unidentified. There were no reviews. (R90II,p113)
Bénédite rendered in his Catalogue Raisonné 4 explicit roads (aR7;R390,no.40+55+59+72), 2 with a boutique (no.63+76), 1 with a Boulevard (no.17) and 1 probably depicted the Rue des Bouchers (no.79). There are also works known that are not in his catalogue.
I render 2 uncertain options: 1873, SDbl, La Rue des Bouchers à Algers, 47×31, A2006/05/24 (iR3;iR11;iR15;R2,p268) (this one is not in the Bénédite catalogue); and: 1876, SDbr (1876 Alger), 1CR40(?), La Rue des Bouchers (Blondeurs) à Algers, 47×36, A2012/02/09 (aR1;iR2;iR11;iR14;iR78;iR10;R2,p268;aR7;R390,no40).

4IE-1879-111, Boutique Arabe
Eng.: Arab store. There were no reviews. (R90II,p113). Bénédite rendered in his Catalogue Raisonné 2 explicit boutiques (aR7;R390,no.61+83), and 2 in a road (no.63+76), two indirectly refer to a boutique (no.69+70). As an uncertain option I render a work that is also an option for no.109+110, because it depicts a road, but the shop is most central in the picture: 1875, SDbr (Alger 1875), Une rue à Alger, 46×37, MBA Rouen (HW;iR2;iR78;iR23;R2,p268;R90II,p113;M12) (this one is not in the Bénédite catalogue).

4IE-1879-112, Mosquée Sidi ab der Bhaman, Alger
Compare 5IE-1880-91+92. De Tarade calls it ‘L’Intérieur de la mosquée Sidi ab der Bhaman. (R90II,p113) Lebourg 3x exhibited a painting rendering a mosque: 4IE-1879-112, Mosquée Sidi ab der Bhaman, Alger (L’Intérieur de la mosquée Sidi ab der Bhaman); 5IE-1880-91, Intérieur d’une mosquée; 5IE-1880-92, Une cour de mosquée. I couldn’t find any picture. To compare I render an old photo: S. Rolando fils, 1900ca, Faisceaux de colonnes et arc d’une trompe (Sidi_Abderrahmane), photo (iR6;iR4;iR10;R2,p268)

4IE-1879-113, Tentes arabes (le matin), Algérie
Eng.: Arab tents (morning), Algeria. Note: almost the same title as 5IE-1880-90. There were no reviews. (R90II,p113) Note: Lebourg exhibited 3 paintings depicting arab tents: 4IE-1879-113, Tentes arabes (le matin), Algérie; 4IE-1879-114, Tentes de grands chefs, Algérie; 5IE-1880-90, Tente arabe. To compare I render a drawing: 1872-77, Sbr (Algérie), Scène de campement, fusain, 29×44, A2009/06/30 (iR17;iR201;iR10;R2,p268).

4IE-1879-114, Tentes de grands chefs, Algérie
Eng.: Tents of the great chefs, Algeria. There were no reviews. (R90II,p113) Note: Lebourg exhibited 3 paintings depicting arab tents: 4IE-1879-113, Tentes arabes (le matin), Algérie; 4IE-1879-114, Tentes de grands chefs, Algérie; 5IE-1880-90, Tente arabe. As an uncertain option I render: 1872-77, Sbr (Boghari), 1CR26?, Algeria, on panel, 27×41, A2022/12/07 (iR11;iR10;aR7;R390,no26;R2,p268) =!?1872-77ca, Sbr (Boghari), 1CR26, Tente de chef arabe; tribu des environs de Boghari (Algérie), on panel, 27×41. To compare I also render a drawing: 1872-77, Sbr, Visite de l’Archevêque d’Alger aux grands chefs arabes, fusain, 31×47, A2018/03/26 (iR17;R2,p268). 

4IE-1879-115, Bateau à voile, port d’Alger
4IE-1879-116, Bateau à voile, port d’Alger
Eng.: sailing boat, harbour of Alger. There were no reviews. (R90II,p113). As an uncertain option I render: 1876, Sbl, 1CR16, Sous le soleil d’Alger, 27×46, A2019/06/30 (iR86;iR10;aR7;R390,no16;R2,p268) =1876, SDbl (Alger 76), 1CR16, Balancelles espagnoles dans le port d’Alger, 28×47; and: 1872-77, Sbl (Alger), Vue d’Alger, 31×47, A2017/10/11 (iR17;R2,p268;R390-/-).

4IE-1879-117, L’Amirauté (le matin), port d’Alger
Eng.: The Admiralty (morning), harbour of Alger. Compare no. 118. There were no reviews. (R90II,p113). Lebourg exhibited 3 paintings depicting the Admirality in Algeria: 4IE-1879-117, L’Amirauté (le matin), port d’Alger; 4IE-1879-118, L’Amirauté, port d’Alger; 5IE-1880-94, L’Amirauté, Alger. To compare I render a sunset: 1876?, SDbl (Alger 1876?), L’Amirauté à Alger, 24×33, A2007/10/27 (iR10;iR11;R2,p268) =!? 1876, SDbl (Alger 1876), 1CR50, L’Amirauté, à Alger; effet du soir, 24×32 (aR7;R390,no50).

4IE-1879-118, L’Amirauté, port d’Alger
Eng.: The Admiralty, port of Algiers. Note: the same title as 5IE-1880-94. There were no reviews. (R90II,p113). Lebourg exhibited 3 paintings depicting the Admirality in Algeria: 4IE-1879-117, L’Amirauté (le matin), port d’Alger; 4IE-1879-118, L’Amirauté, port d’Alger; 5IE-1880-94, L’Amirauté, Alger. I render two uncertain options: 1872-77, Sbr, Alger, L’Amirauté, 38×46, A2014/04/02 (iR78;iR11;iR2;R6,p262;R2,p268); and: 1872-77, Sbl, Alger, L’Amirauté, 33×41, A2019/06/28 (iR11;iR10;R2,p268).

4IE-1879-119, Bateau à vapeur, port d’Alger
Eng.: steamboat, harbour of Alger. Moffett suggests with a perhaps a work in the Musée des Beaux-Arts in Lyon (R2,p268), Berson follows: 1876, SDbl, Marine, 28×42, MBA Lyon (R90II,p132+113;R2,p268;M217). I will render the black and white picture rendered by Berson. As an uncertain option I also render: 1876, SDbl (A.L. Alger 76), Paquebot à Alger, 31×47, A2018/03/14 (iR11;iR10;R2,p268) =!? 1876, SDbl (Alger 76), 1CR15, Le Port d’Alger, 31×47 =GMJ-1914/05/11-48, Le Port d’Alger =GP1918-110 (aR7;R390,no15;iR40;iR261).

4IE-1879-120, Marine, Rouen
4IE-1879-121, Marine, Rouen
4IE-1879-122, Marine, Rouen
Eng.: seaview, Rouen. Note: The same title as 5IE-1880-85. Berson refers to the review of de Tarade and leaves it unidentified (R90II,p113). J. de Tarade explicitly mentions 2 little marine studies. Note: in total Lebourg exhibited 7 marines in 1879: no. 108 +120 + 121 + 122 + 123 + 126 + 127 and 1 in 1880: 5IE-1880-85, Marine, Rouen. As an uncertain option I render: 1878, Sbl (Rouen), La Seine à Rouen, 37×60, MBH Bayonne (iR127;iR10;iR108;R2,p268;M191) former Personnaz collection. Other more uncertain options are: 1xxx, Sbl, Le port de Rouen, 27×41, A2013/04/13 (iR11;R2,p268); and: 1xxx, Sbr, Rouen, The Seine And The Cathedral, xx, xx (iR10;iR334;R2,p268).

4IE-1879-123, Marine, Marseille
Eng.: seaview, Marseille. Berson refers to the review of de Tarade and leaves it unidentified (R90II,p114). J. de Tarade explicitly mentions 2 little marine studies. Note: in total Lebourg exhibited 7 marines in 1879: no. 108 +120 + 121 + 122 + 123 + 126 + 127 and 1 in 1880: 5IE-1880-85, Marine, Rouen. The Catalogue Raisonné doesn’t seem to render a work made in Marseille (aR7;R390), neither could I find a picture made in Marseille. To compare I render: 1877, SDbl, Le vieux pont de Sèvres (Seine), 31×47, A2002/10/22 (iR11;iR2;R2,p268), I work I also suggest for no.108.

4IE-1879-124, Paysage Normand
Eng.: Normandy landscape. There were no reviews. (R90II,p114). As a very uncertain option I render: 1873?, SDbl, Landscape with Houses, 38×55, private (iR333;iR2;R2,p268).

4IE-1879-125, Paysage, bords de la Risle (Eure)
Eng.: landscape, banks of the Risle (Eure). Berson refers to the review of de Tarade and leaves it unidentified (R90II,p114). As an uncertain option I render: 1xxx, Sbl, Le Village de Montfort-sur-Risle, xx, A2003/03/20 (iR11;iR334;iR10;R2,p268).

4IE-1879-126, Marine
4IE-1879-127, Marine
Eng.: seascape. Berson refers to the review of de Tarade and leaves it unidentified (R90II,p114). J. de Tarade explicitly mentions 2 little marine studies. Note: in total Lebourg exhibited 7 marines in 1879: no. 108 +120 + 121 + 122 + 123 + 126 + 127 and 1 in 1880: 5IE-1880-85, Marine, Rouen. As uncertain option I render: 1879, Sbl, L’ancien casino de Dieppe, 37×70, A2016/06/22 (iR10;iR11;R2,p268). And to compare: 1880-82ca, Le port de Dieppe, 35×65, A2016/02/05 (iR11;R2,p268) .

4IE-1879-128, Portrait de femme (dessin)
Eng.: portrait of a woman. As an uncertain option I render: 1xxx, Sbl, 1CR2068, Portrait of Mme B. Guilloux, fusain, 64×42, xx (R390,no2068;R2,p268). To compare I also render a later drawing: 1885, Sbr, 1CR2069, Portrait de Madame Ducroix-Mallet, hôtelière à Pont-du-Château, fusain, 53×38, A2017/11/28 (iR17;R2,p268;R390,no2069) .

4IE-1879-129, Portrait d’homme (dessin)
Eng.: portrait of a man. As an uncertain option I render: 1xxx, Sbl, Portrait du docteur, fusain, xx, A2012/03/19 (iR17;iR10;iR415;R2,p268+312). Compare: 5IE-1880-95, Dessin (Fusain), (Anglo-Américan); and: S1878-3288, Portrait de M. L…; fusain. As a second uncertain option I render: 1xxx, Str, 1CR2078, Portrait of his father, fusain, 43×29, xx (R390,no2078;R2,p268).

4IE-1879-130, La lecture (le soir); (dessin)
Eng.: reading (the evening) (drawing). Berson, following Thomson (1985, Seurat, p227+no.19), suggests 1879ca, 1CR2085, Reading (Evening), charcoal, 44×28, BM London (R90II,p132+114;R390,no2085;M147,1978,1007.3). Note: the British Museum doesn’t sugggest it was exhibited in 1879. Other uncertain options are: 1878ca, La lecture à la bougie, dr, 19×13, Axx (iR10;iR13;R2,p268) =? 1xxx, Sbl, 1CR2077, Portrait de jeune fille (De profil à gauche et lisant un livre qu’elle tient entre ses mains, fusain, 43×29 (R390,no2077); and: 1880, SDbl, 1CR2075?, Femme lisant une lettre (woman reading a letter by candlelight), fusain, 43×29, VGM Amsterdam? (iR10;iR64;M73;R2,p268;R390,no2075). Maybe it was the same as: S1878-3289, Femme lisant; fusain (iR1). In that case the drawing from the British Museum depicting two women, isn’t an option.

4IE-1879-131, La Veillée; (dessin)
Eng.: the vigel. Nl.: het waken; de vorige avond. Berson suggests (based on the basis of style and title) a work that was published 1903/12/30 in the Gazette des Beaux-Arts and now unknown (R90II,p114+132). But she also mentions that it was made of ‘black chalk, heightened with white’. Therefore I think it is a less good option, because it wasn’t made of charcoal. Still, I will render the picture of Berson as uncertain option. A better option is: 1xxx, Sbr, 1CR2062, La Veillée, fusain, 30×46, xx (R390,no2062); described as: Trois femmes, assises autour d’une table, cousent à la lumière d’une lampe (Eng.: Three women sitting around a table are sewing by lamplight). Probably: 1879ca, Sbr, 1CR2062, Evening (La Veillée), charcoal, 32×49, Cleveland MA (iR155;M27;R90I,p313;R390,no2062) =expo GP1918-220 =2nd Roger Marx sale HD1914/06/12-179.

4IE-1879-132, La Ménagère (dessin)
Eng.: the housewife. As an uncertain suggestion I render: 1xxx, Sbl, 1CR2084, Portrait of Mme Lebourg, fusain, 41×28, xx (R390,no2084;R90I,p313;R2,p268).

4IE-1879-133, Jeune fille; (dessin)
Eng.: young girl. I suppose 1CR2081 is the best option: 1879, SDbl (Montfort 1879), 1CR2081, Petite fille, fusain, 45×28 (R390,no2081). To compare I render a drawing of a boy: 1878, SDbl, Portrait de jeune garçon (Montfort), dr, 46×30, A2008/11/28 (iR10;iR13;iR17;R2,p268); and also: 1xxx, Sbr, 1CR2074, Petite Italien, assise, fusain, 44×29, xx (R390,no2074;R2,p268) =GP1918-224. Another option could be: 1878ca, La lecture à la bougie, dr, 19×13, Axx (iR10;iR13;R2,p268) =? 1xxx, Sbl, 1CR2077, Portrait de jeune fille (De profil à gauche et lisant un livre qu’elle tient entre ses mains, fusain, 43×29 (R390,no2077).

4IE-1879-134, Femme jouant aux échecs; (dessin)
Eng.: Woman playing chess. Berson suggests 1879, SDbl (Paris 1879), 1CR2063, Portraits de la mère et la femme de l’artiste travaillant à la lumière d’une lampe, charcoal on paper, heightened with white (30,5×43,5cm), unknown location (R90II,p114+132). I don’t think that the woman on the right is playing chess. Bénédite notes they are ’travaillant’ (working). The 1879 title notes ‘femme’, the singular form, which is strange, while you mostly play chess with 2 persons. Still, I will render the picture of Berson to compare. Note that this work is almost identical with: 1880, SDbl, 1CR2066, La femme et la belle-mère de l’artiste travaillant à la lumière d’une lampe / La mère et la femme de l’artiste cousant à la lumière d’une lampe (The mother and wife of the artist sewing by lamplight), fusain, 28×43, PGM Los Angeles (M31;iR10;iR8;R2,p312;R90I,p313), a work I suggest for 5IE-1880-96.

4IE-1879-135, Jeune femme; (dessin)
4IE-1879-136, Jeune femme; (dessin)
4IE-1879-137, Jeune femme; (dessin)
Eng.: Young woman (drawing). I think a good option is 1CR2083: 1xxx, Sbl, 1CR2083, Portrait de jeune femme, fusain, 44×28 (R390,no2083), with the decription: de face, assise, la tête penchée sur l’épaule droite, les yeux fermés, les mains jointes (Eng.: frontal, seated, head bent over right shoulder, eyes closed, hands folded); probably: 1880ca, Portrait of the artist’s wife asleep (Marie Guilloux), charcoal, 49×32, AI Chicago (M20;aR6;iR10;R2,p268;R390,no2083). As very uncertain other options I render: 1880, SDbl, xx (woman reading by candlelight), dr, xx, VGM Amsterdam? (iR10;iR64;M73;R2,p268); and: 1878ca, La lecture à la bougie, dr, 19×13, Axx (iR10;iR13;R2,p268) =? 1xxx, Sbl, 1CR2077, Portrait de jeune fille (De profil à gauche et lisant un livre qu’elle tient entre ses mains, fusain, 43×29 (R390,no2077). Compare: S1878-3289, Femme lisant; fusain.

 

The fifth ‘impressionist’ exposition 1880:

  • catalogue numbers 85-104=20.
  • In total Lebourg exhibited 20 works, including 10 drawings, all untitled.
    • 6x indication of place; 1x Rouen; 2x Paris; 2x Normandie; 1x Alger
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…)
  • Moffett does give no suggestion at all (R2,p312) neither does Berson (R90II,p151)
  • see link for the exhibited paintings and drawings.

Reviews:
Bertall
(1880/04/03 reviewed in Paris-Journal ‘… Vidal is a wrong (not fitting) brother. Let’s put in the same catagory M. Lebourg with his charcoals, … All these people do is paint, just like the people who clutter up the exposition at the Champs-Elysées. They don’t deserve the title independant or impressionist.’ (R90I,p268)
Arthur d’Echérac as A. E. (1880/04/05) reviewed in La Justice ‘Let us pass in silence MM. Caillebotte and Pissaro (sic), let us speak highly of M. Lebourg, who is a first class artist. Une cour de Mosquée, l’Amirauté d’Alger, his two Vues de Paris, his marine à Rouen, are perfect scenes. There are all the qualities Decamp has combined with an incomparable shimmer of colour. As for the drawings of M. Lerebourg (sic) there is everything, life, transparency and effect.’ (R90I,p276)
Henry Fouquier (1880/04/10) reviewed in Le XIXe Siècle ’traitor M. Lebourg with his oriental landscapes does not exceed the fantasy of Ziem and de Brest and whose charcoals are of a rare correctness.’ (R90I,p281)
Gustave Goetschy (1880/04/06) reviewed in Le Voltaire ‘To all this, I prefer more the charcoals of M. Lebourg, with a powerful, warm tone.’ (R90I,p283)
Henry Havard (1880/04/02) reviewed in Le Siècle ‘I’ll say the same of the very remarkable charcoals of M. Lebourg, so richly modelled in their powerful clair obscur.’ (R90I,p284)
George Japy (1880/04/03) reviewed in Le Soir ‘M. Lebourg should have also a price for his Vue d’Alger. It has a very personal execution. He must be something of a carpenter, his skies, his fields, his houses are painted by small strokes of the same size, applied one after the other like the strips of a parquet floor.’ (R90I,p294)
J.L., un unknown art-critic reviewed (1880/04/06) in L’Ordre ‘M. Lebourg shows us 10 masterfully drawn charcoals’ (R90I,p295)
André Michel (1880/04/09) reviewed in Le Parlement ‘We find in the very interesting charcoal studies of M. Lebourg distant reminiscences of Millet. He also exhibits some pretty seascapes.’ (R90I,p300)
Elie de Mont. (1880/04/20) reviewed in La Civilisation ‘Why M. Lebourg, who had a collection of remarkable charcoals, shows of a wild painting like his Amirauté à Alger?’ (R90I,p302)
H. Mornand (1880/05/01) reviewed in La Revue littéraire et artistique ‘Others are nothing less than impressionistic, and I cannot understand why the Society persists any longer in warming them in its bosom. M. Lebourg, for example, gives us in the Rue des Pyramides, excellent studies with a broad, powerful style. His Normandy landscapes: Marine, Rouen, and his oriental views: Tente arabe, Intérieur d’une mosquée, Une cour de mosquée, Café maure, l’Amirauté d’Alger, and several others, are excellent canvases of a serieus artist who’s right and charming. His title of d’indépendant is redundant; it would be noticeable anywhere, even at the halle aux huiles, which is the name of the annual exhibition at the Palais de l’Industrie.’ (R90I,p303)
Armand Silvestre (1880/05/01) reviewed in La Vie Moderne ‘I’m not going to say of M. Lebourg what I have said about M. Pissarro, and I wonder why he’s one of the school’s representatives; not that he lacks quality, but the way he paints is reminiscent of Fabius Brest, who has never been considered a revolutionary. M. Lebourg could perfectly show his paintings at the jury that operates at the Champs-Elysées, without raising the slightest storm. Although we’d like to see a more thorough execution, we’d certainly appreciate the finesse of tone in some of his submissions, his Vue de Rouen, for example, which is an excellent marine, richly painted, less nervous than those of Jules Héreau, but interesting for the harmonies.’ (R90I,p307)
Henry Trianon (1880/04/08) reviewed in Le Constitutionnel ‘M. Leboury (sic) has send in four or five very completed charcoals, including a full-length portrait of an Anglo-American, which is deeply ethnic in character, with a sense of off-line art. His two “Brodeuses” (embroiderers), in a lamp effect, must also be indicated. These are not mere impressions, and the originality that characterises them need not be called independence. She follows the high road of talent and observation. ‘ (R90I,p313)
Marious Vachon (1880/04/03) reviewed in La France ‘M. Lebourg, in his charcoal drawings, are a derivation of Millet.’ (R90I,p315)

Catalogue 1880: (R2,p312;R90I,p261 ; iR1)

5IE-1880-85, Marine, Rouen
Eng.: seaview, Rouen. Silvestre reviewed ‘his Vue de Rouen, for example, which is an excellent marine, richly painted, less nervous than those of Jules Héreau, but interesting for the harmonies.’ (R90I,p307) Mentioned by Echérac, Mornand and maybe Trianon (reviewing Vidal he mentions “le Port de Rouen” with a a cloudy, silvery effect; R90I,p313) (R90II,p151). Note: in total Lebourg exhibited 7 marines in 1879: no. 108 +120 + 121 + 122 + 123 + 126 + 127 and 1 in 1880: 5IE-1880-85, Marine, Rouen. As an uncertain option I render: 1xxx, Sbl, View on Rouen, 36×60, MBH Bayonne (iR10;iR108;iR127;R2,p268;M191) =Personnaz sale no.31.  This work fits partly the review of Trianon; but looking at the violet shades I assume it was made later.

5IE-1880-86, Paysage, Normandie
5IE-1880-87, Paysage, Normandie
Eng.: landscape, Normandy. As 2 very uncetain options I render: 1xxx, Sbl, Chemin de campagne, on panel, 15×24, A2010-10-29 (iR15;R2,p312); and: 1xxx, Sbr, View on Dieppe, 36×65, CM Dieppe (iR23;iR10;iR6;R2,p312).

5IE-1880-88, Vue de Paris
5IE-1880-89, Vue de Paris
Eng.: view on Paris. Mentioned by Echérac (R90II,p151). I render 2 uncertain options: 1879, SDbl (Paris Dec. 79), Notre Dame, vue prise du Pont de la Tournelle, 64×92, A2021/11/26 (iR11;iR420;iR10;R2,p312); and: 1878, Sbr, Notre-Dame de Paris, view of the Île de la Cité, xx, xx (iR333;iR10;iR326;iR99;iR78;R2,p312).

5IE-1880-90, Tente arabe
Mentioned by Mornand (R90II,p151). Note: Lebourg exhibited 3 paintings depicting arab tents: 
4IE-1879-113, Tentes arabes (le matin), Algérie; 4IE-1879-114, Tentes de grands chefs, Algérie; 5IE-1880-90, Tente arabe. As an uncertain option I render: 1872-77, Sbr, Algérie, Les tentes à Boghari, on carton, 34×26, A2013/05/29 (iR17;R2,p312;aR7) Compare: R390,no26+53..

5IE-1880-91, Intérieur d’une mosquée
Mentioned by Mornand (R90II,p151). Lebourg 3x exhibited a painting rendering a mosque: 4IE-1879-112, Mosquée Sidi ab der Bhaman, Alger (L’Intérieur de la mosquée Sidi ab der Bhaman); 5IE-1880-91, Intérieur d’une mosquée; 5IE-1880-92, Une cour de mosquée. I couldn’t find any picture. As an uncertain option I render: 1872-77, Sbr, Intérieur de palais, 47×31, A2012/06/29 (iR17;R2,p312;aR7;R390,no52) =? 1CR52, 1876, SDbr (76), 1CR52, Intérieur de la Grande Mosquée, Alger, 47×31 =GP1918-132.

5IE-1880-92, Une cour de mosquée
Eng.: The courtyard of a mosque. Mentioned by Echérac and Mornand (R90II,p151). Lebourg 3x exhibited a painting rendering a mosque: 
4IE-1879-112, Mosquée Sidi ab der Bhaman, Alger (L’Intérieur de la mosquée Sidi ab der Bhaman); 5IE-1880-91, Intérieur d’une mosquée; 5IE-1880-92, Une cour de mosquée. As an uncertain option I render a black and white picture from the Bénédite catalogue: 1875, SDbl (1875 Alger Grande Mosquée), 1CR10, Fontaine dans la grande mosquée, Alger, 31×47 (R390,no10;aR7;R2,p312)

5IE-1880-93, Café maure
Mentioned by Mornand (R90II,p151). As an uncertain option I render: 1875?, SDbl (Alger 1875?), Café Maure du Jardin d’Essai, xx (iR10;iR65;R2,p312;R90II,p151) =? 1877, SDbr (Alger 1877), 1CR12, Le Café maure du Jardin d’Essai à Alger, 31×47 =GP1918-137. Compare: 1874, SDbl (1874), Café Maure du Jardin d’Essai (Café des platenes), dr, 30×46, Axx (iR13;iR10;R2,p312;R90II,p151) =? 5IE-1880-104, Dessin (Fusain).

5IE-1880-94, L’Amirauté, Alger
Eng.: the Admirality in Algeria. Japy (probably referring ot no.94) reviewed ‘M. Lebourg should have also a price for his Vue d’Alger. It has a very personal execution. He must be something of a carpenter, his skies, his fields, his houses are painted by small strokes of the same size, applied one after the other like the strips of a parquet floor.’ (R90I,p294) Elie de Mont. calls it a wild painting (R90I,p302). Mentioned by Echérac, Mornand and maybe Trianon (reviewing Vidal he mentions a “Vue de Tunis” of superb colour; R90I,p313) (R90II,p151). Lebourg exhibited 3 paintings depicting the Admirality in Algeria: 
4IE-1879-117, L’Amirauté (le matin), port d’Alger; 4IE-1879-118, L’Amirauté, port d’Alger; 5IE-1880-94, L’Amirauté, Alger. As an uncertain option I render: 1876, SDbl, 1CR15, The Port Of Algiers, 31×47, Orsay (iR78;iR2;iR23;iR10;R89,p39;iR40;iR261;aR7;R390,no15;R2,p312) =1876, SDbl (Alger 76), 1CR15, Le Port d’Alger, 31×47 =GMJ-1914/05/11-48, Le Port d’Alger =GP1918-110. Namely the ‘small strokes of the same size’ are recognisable.

5IE-1880-95, Dessin (Fusain), (Anglo-Américan) (R90I,p276)
As a very uncertain option I render: 1xxx, Sbl, Portrait du docteur, fusain, xx, A2012/03/19 (iR17;iR10;iR415;R2,p268+312). Compare: S1878-3288, Portrait de M. L…; fusain and: 4IE-1879-129, Portrait d’homme; (dessin).

5IE-1880-96, Dessin (Fusain), (Brodeuses dans un effet de lampe; (R90I,p313).
5IE-1880-97, Dessin (Fusain), (Brodeuses dans un effet de lampe; (R90I,p313).
Eng.: Drawing (Charcoal), (Embroiderers in a lamp effect); Nl.: Borduursters. To compare I render charcoal drawings depicting women that are sewing and doing other sorts of handcrafts: 1880, SDbl, 1CR2066, La femme et la belle-mère de l’artiste travaillant à la lumière d’une lampe  / La mère et la femme de l’artiste cousant à la lumière d’une lampe (The mother and wife of the artist sewing by lamplight), fusain, 28×43, PGM Los Angeles (M31;iR10;iR8;R2,p312;R90I,p313) (note: this work I also suggest for 4IE-1879-131); and: 1879, SDbl (Paris 1879), 1CR2063, Portraits de la mère et de la femme de l’artiste travaillant à la lumière d’une lampe, fusain, 31×44, xx (R90II,p132+114;R2,p312;R90I,p313;R390,no2063).

5IE-1880-98, Dessin (Fusain)
5IE-1880-99, Dessin (Fusain)
5IE-1880-100, Dessin (Fusain)
5IE-1880-101, Dessin (Fusain)
5IE-1880-102, Dessin (Fusain)
5IE-1880-103, Dessin (Fusain)
5IE-1880-104, Dessin (Fusain)
Eng.: Drawing (Charcoal). Many of the art-critics shortly remarked his charcoal drawings, mostly in a positive sense. Michell and Vachon call them reminiscent to Millet. Echérac remarked ’there is everything, life, transparency and effect.’ (R90I,p276) Havard calls them ‘richly modelled in their powerful clair obscur.’ (R90I,p284) Trianon was more describing: ‘M. Leboury (sic) has send in four or five very completed charcoals, including a full-length portrait of an Anglo-American, which is deeply ethnic in character, with a sense of off-line art. His two “Brodeuses” (embroiderers), in a lamp effect, must also be indicated. These are not mere impressions, and the originality that characterises them need not be called independence. He follows the high road of talent and observation.’ (R90I,p313)
As very uncertain options I render quite arbitrary:
for no. 98: 1867-70ca, Sbl, Still Life with Candle, charcoal, 31×23, PGM Los Angeles (M31;iR6;iR8;iR72;iR155;R2,p312).
for no. 99: 1867-70ca, Sbl, A brush, jug and other objects in a candlelit interior, charcoal, 31×24, A2014/07/10 (iR11;iR15;iR78;R2,p312)
for no. 100: 1875, SDbl, Barque de pécheurs en mer, Alger, fusain, 46×30, A2017/06/02 (iR17;R2,p312).
for no. 101: 1878, SDbl, Intérieur de forêt (Montfort), fusain, 48×31, MPP Paris (iR195;M4;R2,p312).
for no. 102: 1872-77, The kasbash (Alger), fusain, 45×29, A2013/06/20 (iR11;iR10;R2,p312).
for no. 103: 1873, SDbr, Algerian landscape, chalk + charcoal, 30×45, AI Chicago (M20;iR155;aR6;R2,p312)
for no. 104: 1876, SDtl, Fantasia, charcoal, 30×46, A2017/04/24 (iR11;iR17;R2,p312)

 

Albert(-Marie) Lebourg at the Salon:
In total Lebourg exhibited 4 works at the Salon and it’s successor de la Société des Artistes Français (=SdAF), including 2 drawings.
Note: There also was a Charles-Auguste Lebourg, born in Nantes, a sculptor, who exhibited at the Salon (in at least 1852 + 53 + 57 + 80 + 84 + 85) (iR1). At the Salon des Refuses of 1863 there also exhibited a Louis-Guillaume Lebourg.

  • 2x indication of place
  • 2x indication of time, season or weather
  • 0x a study
  • 0x loans (appartient à…)

 

S1878-3288, Portrait de M. L…; fusain
Eng.: portrait of Mr. L… ; charcoal. Note: not mentioned by Bénédite (R390,p297). As an uncertain option I render: 1878, SDbr, 1CR2073?, Self-portrait, fusain, 45×30, xx (R390,no2073;iR1), assuming L. stands for Lebourg.

S1878-3289, Femme lisant; fusain
Eng.: Woman reading; charcoal. Note: not mentioned by Bénédite (R390,p297). I render 2 uncertain options: 1878ca, La lecture à la bougie, dr, 19×13, Axx (iR10;iR13;R2,p268); and: 1880, SDbl, xx (woman reading by candlelight), dr, xx, VGM Amsterdam? (iR10;iR64;M73;R2,p268). Compare: 4IE-1879-130, La lecture (le soir); (dessin); and also: 4IE-1879-135, Jeune femme; (dessin)

SdAF-1883-1441, Le matin; Dieppe
Eng.: morning; Dieppe. Note: his name was wrongly spelled as ‘Leboubg, Albert’. Lebourg made several pictures in Dieppe in the early 1880s. All were of limited sizes. None clearly depicted a morning scene. I think this painting suggest a morning sun the best: 1881, SDbl, Dieppe vapeur amarrée, 33×41, Gallery Paris (iR333;aR1;iR1).

SdAF-1886-1407, La neige; Auvergne
Eng.: the snow; Auvergne. Bought by Depeaux and later offered to the Musée de Rouen (aR1): 1886, SDbl, La neige en Auvergne, 154×264, MBA Rouen (HW18;iR10;iR122;iR1;aR1;R231;R390,p302;R88I,p426;M12), former Depeaux collection.
=?? SNBA-1890-554, La Neige (Auvergne)
Compare: EU-C-1900-407, Neige en Auvergne (à M. L. X…)

 

Albert Lebourg at Les XX:
Lebourg joined Les XX in Brussels in 1887 (R88II,p210).

4XX-1887-?, La Seine à Saint-Denis.
As a very uncertain option I render: 1xxx, Sbr, La Seine et le pont de Saint-Denis, 35×65, A2015/06/26 (iR11;iR15;iR17)

4XX-1887-?, La sortie du port de Boulogne, temps orageux.

4XX-1887-?, Effet du soleil le matin au pont d’Austerlitz.

4XX-1887-?, Bords de canal à Charenton.

4XX-1887-?, Effet de neige en Auvergne.
Compare: SdAF-1886-1407, La neige; Auvergne. As an uncertain option I render: 1887, SDbr, 1CR101, Le Pont sur l’Allier à Pont du Château, hiver, 61×110, xx (aR1;iR419;R88II,p210;R390,no101) =GP1918-131 Bergaud sale 1920-26.

 

Albert Lebourg at the Société Nationale des Beaux-Arts:
In total Lebourg exhibited 130 works at the Salon de la Société Nationale des Beaux-Arts (=SNBA) (iR1). Note: the 1890 entries are not mentioned by Bénédite (R390,p297).

  • 67x indication of place
  • 74x indication of time, season or weather
  • 0x a study
  • 14x loans (appartient à…)

1890:

SNBA-1890-550, Soleil et fumées
Eng.: Sun and smoke.

SNBA-1890-551, Le Givre (Auvergne)
Eng.: hoarfrost.

SNBA-1890-552, Soleil d’Hiver (Basse-Seine)
Eng.: winter sun.

SNBA-1890-553, Matinée d’Eté au Bas Meudon
Eng.: Summer morning at Bas-Meudon.

SNBA-1890-554, La Neige (Auvergne)
Eng.: snow.

SNBA-1890-555, La Seine au pont de la Concorde

SNBA-1890-556, Un bras de Seine au Bas-Meudon
Eng.: A branche of the Seine at Bas-Meudon.

1891:

SNBA-1891-562, Bas-Meudon
As an uncertain option I render: 1890ca, Sbl, La Seine au Bas-Meudon, 35×66, A2023/05/12 (iR17;iR10;iR1)

SNBA-1891-563, Pont de Neuilly, l’hiver

SNBA-1891-564, Une Allée de parc en hiver

SNBA-1891-565, Effet de Neige
As a very uncertain option I render: 1890ca, Sbl, Route au bord de la Seine à Suresnes, 47×66, MBA Rouen (HW18;iR2;M12;iR1)

SNBA-1891-566, Pont de Suresnes

SNBA-1891-567, Effet de neige
Eng.: snow effect.

SNBA-1891-568, Gelée blanche au soleil levant
Eng.: hoarfrost at a setting sun.

SNBA-1891-569, La Seine à Paris

1892:

SNBA-1892-639, La Neige; le matin
= ? EU-C-1900-409, Lever de soleil par la neige (à M. Viau)

SNBA-1892-640, Temps gris après la neige
Eng.: grey weather after snowing.

SNBA-1892-641, La Neige ; le soir
Eng.: snow; evening.

SNBA-1892-642, Champs couverts de neige
Eng.: Fields covered with snow.

SNBA-1892-643, Une Route couverte de neige ; après-midi
Eng.: A road covered with snow; afternoon.

SNBA-1892-644, Pont du Château (bords de l’Allier)
As a very uncertain option I render: 1887ca, Sbl, Pont du Château, 62×102, A2016/07/24 (iR17;iR1) .

SNBA-1892-645, Route au bord de la Seine ; matinée d’hiver
Eng.: road along the Seine; winter morning.

SNBA-1892-646, Bords de la Seine (près Bougival)
Eng.: Banks of the Seine (near Bougival)

1893:

SNBA-1893-659, Soleil du matin par le givre
(Appartient à M. Vever). Eng.: morning sun on the hoarfrost.

SNBA-1893-660, L’île Lacroix et la côte Sainte-Catherine par la neige
(Appartient à M. Depeaux). Probably: 1893, SDbr, L’Île Lacroix sous la neige, 45×75, MBA Rouen (HW18;M12;iR1;iR23) =Depeaux sale GP1906/05/31. He made at least two other paintings with the same motive: 1893, SDbl, The Seine and the Isle of Lacroix in Winter, 50×73, MBA Lille (iRx;M17); and: 1893 (18xx), Sbl, The Effect of Snow over the Seine at L’île Lacroix, 60×81, private (iRx).

SNBA-1893-661, Environs de Rouen en automne
(Appartient à M. Schiff). Eng.: Surroundings of Rouen in autumn.

SNBA-1893-662, Notre-Dame de Paris par la neige
(Appartient à M. le Dr B….)

SNBA-1893-663, Bords de la Seine aux environs de Rouen, en automne
Eng.: banks of the Seine in the surroundings of Rouen, in autumn.

SNBA-1893-664, Matinée d’automne ; bord de Seine
Eng.: Autumn morning; banks of the Seine.

SNBA-1893-665, Environs de Rouen, en automne
Eng.: Surroundings of Rouen, in autumn.

SNBA-1893-666, Soleil d’hiver
Eng.: Wintersun.

1894:

SNBA-1894-696, Rouen; matinée d’été
Eng.: Rouen, summer morning.

SNBA-1894-697, Les étangs de Mortefontaine en automne
(Appartient à M. Hoche). Eng.: The lakes of Mortefontaine in autumn.

SNBA-1894-698, Rouen; après-midi d’été
As a very uncertain option I render: 1xxx, Sbr, La Seine à Croisset, près de Rouen en été, 42×58, Gallery The Hague (iR10;iRx;aR1;iR1;R390,p297)

SNBA-1894-699, Honfleur; après-midi d’été
As an uncertain option I render: 1893, SDbl, Sur le port de Honfleur, 47×66, A2009/02/04 (iR11;iR17;iR2;iR1)

SNBA-1894-700, Chemin de village normand (effet de pluie le matin)
Eng.: Village road in Normandy (morning rain effect).

SNBA-1894-701, Les bords de l’Iton au printemps
Eng.: The banks of the Iton in spring.

SNBA-1894-702, Chemin de village: soleil du matin
Eng.: Village road; morning sun.

1895:

SNBA-1895-762, Au pont de Chatou; par la neige
Eng.: At the bridge of Chatou; through the snow.

SNBA-1895-763, A Bougival; par la neige
As an uncertain option I render: 1885, Sbr, Bord de la Seine à Bougival, 87×130, A2012/10/24 (aR1;iR11;iR1;iR10;R116II,p172) =GP1923-85

SNBA-1895-764, A Herblay, soleil couchant ; par la neige
As a very uncertain option I render: 1xxx, Sbr, Bords de la Seine; L’hiver à Herblay, 38×55, A2007-05-10 (iR15;iR11;iR1)

SNBA-1895-765, A Herblay; l’hiver
As a very uncertain option I render: 1895, SDbr, Herblay-sur-Seine, neige, 46×65, A2023/05/12 (iR17;iR10;iR13;iR1)

SNBA-1895-766, A Port-Marly
As a very uncertain option I render: 1xxx, Sbr, The Seine at Marly, 39×61, A2011/05/30 (aR1;iR201;iR78;iR11;iR1)

SNBA-1895-767, Notre-Dame de Paris
As a very uncertain option I render: 1895ca, Sbl, View of Notre Dame and the Seine, xx, xx (iR333;iR2;iR3;iR1)

1896:

SNBA-1896-778, La côte Sainte-Catherine à Rouen, par la neige
As a very uncertain option I render: 1898ca, Sbr, Rouen, La Côte Sainte Catherine vue de la Rive Gauche, 46×85, private (iR2;iR1)

SNBA-1896-779, Rouen, vu de Bonsecours

SNBA-1896-780, La côte Sainte-Catherine, au printemps

SNBA-1896-781, Nanterre, après-midi d’hiver
Eng.: winter afternoon.

SNBA-1896-782, Bords de la Seine à Bougival, en hiver
Eng.: Banks of the Seine at Bougival, in winter.

SNBA-1896-783, Sartrouville, matinée d’été
Eng.: summer morning.

SNBA-1896-784, Bas-Meudon

1897:

SNBA-1897-764, Canal à Rotterdam (le matin)
As a very uncertain option I render: 1xxx, Sbr, 1CR318, La Meuse à Rotterdam, 38×55, A2020/12/04 (iR17;iR11;iR1) =expo GP1923

SNBA-1897-765, Évreux
As an uncertain option I render: 1897ca, Sbr, 2CR, Vue d’Évreux avec la cathédrale Notre Dame, 46×65, A2010-06-14 (iR3;iR15;iR1)

SNBA-1897-766, Notre-Dame de Paris (effet de neige, le soir)
Maybe: 1897ca, Sbr, Notre-Dame de Paris, effet de neige, le soir, 46×66, MC Paris (iR195;M8;iR1)

SNBA-1897-767, La neige
(Appartient à M. L…). Eng.: snow.

SNBA-1897-768, Bords de rivière en hiver
Eng.: banks of a river in winter.

SNBA-1897-769, La vanne
Eng.: the valve. Nl.: de klep / afsluiting / kraan / ventiel.

SNBA-1897-770, Canal à Delft au soleil couchant
(Appartient à M. D…). As an uncertain option I render: 1896, SDbr, 2CR, View of Delft, Sunset, 47×74, A2006/09/30 (iR2;aR1;iR1)

SNBA-1897-771, Soleil couchant en hiver
Eng.: Setting sun in winter.

1898:

SNBA-1898- 716, Bords de la Seine à Vétheuil
Eng.: banks of the Seine in Vétheuil. As a very uncertain option I render: 1xxx, Sbr, Couchez de soleil sur la Seine, près de Vétheuil, 39×64, A2009/10/06 (iR11;iR1).

SNBA-1898- 717, Vue de Vétheuil au soleil couchant
Eng.: View on Vétheuil with setting sun. Probably: 1897, SDbl, Vue de Vétheuil, soleil couchant, xx, A2006/02/23 (iR11;iR155;iR1).

SNBA-1898- 718, Gelée blanche au printemps
Eng.: hoarfrost in spring.

SNBA-1898- 719, Le pont Saint-Michel à Paris
As a very uncertain option I render: 1890ca, Sbr, Le pont Saint-Michel et Notre-Dame, vus du quai des Grands-Augustins, 50×64, MC Paris (iR195;M8;iR1)

SNBA-1898- 720, Canal à Schiedam (Hollande)
As a very uncertain option I render: 1896, SDbl, Canal en Hollande, xx, MBA Rouen (HW18;M12;iR1)

SNBA-1898- 721, La Seine et le faubourg Saint-Paul à Rouen
Eng.: The Seine and the suburb Saint-Paul in Rouen.

SNBA-1898- 722, Le soir (paysage)
Eng.: evening (landscape)

SNBA-1898- 723, Notre-Dame de Paris par la neige
Eng.: in the snow.

1899:

SNBA-1899-872, Le sentier (matinée d’été)
As a very uncertain option I render: 1xxx, Sbr, Vétheuil path, morning effect, xx, xx (iR333;iR78;iR2;iR1)

SNBA-1899-873, Le Pont-Neuf et la Cité (le matin)
As a very uncertain option I render: 1xxx, Sbr, Le petit bras de la Seine et le Pont-Neuf, 46×76, A2022/07/01 (iR17;iR1)

SNBA-1899-874, Bords de Seine (soirée d’été)
(Appartient à M. le Dr G.). As a very uncertain option I render: 1889, SDbr, 2CR, Les berges de la Seine à Bercy, effet de soir, 41×73, A2015/05/15 (iR11;iR15;iR1;R391)

SNBA-1899-875, Bords de Seine (soirée d’automne)
(Appartient à M. L.). As a very uncertain option I render: 1898, SDbr, Les lavandières, 55×73, A2008/02/13 (iR11;iR1)

SNBA-1899-876, Bords de Seine (automne)
Eng.: banks of the Seine (autumn)

SNBA-1899-877, Bords de Seine (matinée d’automne)
(Appartient à M. Mondain). Eng.: Banks of the Seine (autumn morning)

SNBA-1899-878, Soleil d’hiver
(Appartient à M. Roux). Eng.: wintersun.

SNBA-1899-879, Le chemin
Eng.: the path.

SNBA-1899-880, Le givre
Eng.: hoarfrost.

SNBA-1899-881, Gelée blanche (le matin)
(Appartient à Mlle A. C.). Eng.: hoarfrost (morning)

1900:
Note: in 1900 there was no SNBA. Lebourg did take part at the Exposition Universelle.

1901:

SNBA-1901-532, Le soir.

SNBA-1901-533, Le matin.

SNBA-1901-534, La neige.

SNBA-1901-535, Temps de pluie.
Now: 1901ca, Sbr, Temps de pluie, bords de Seine à Croisset, 47×86, MPP Paris (iR195;M4). Bought by the state

SNBA-1901-536, Après-midi d’automne.
=1xxx, Sbl, 1CR1527, Après-midi d’automne à Dieppedalle, environs de Rouen, 46×85 =Rosenberg expo 1903-62. =1xxx, Sbl, 1CR1527, Après-midi d’automne à Dieppedalle, 46×85, A2022/03/17 (iR10;iR14); =GP1923.

1902:

SNBA-1902-712, Soleil couchant en hiver
Eng.: Setting sun in winter.

SNBA-1902-713, La neige
Eng.: the snow.

SNBA-1902-714, Après-midi d’automne
As a very uncertain option I render: 1902ca, Sbr, Après-midi d’automne Le bac (Bords de la Seine), 50×90, Orsay (iR10;iR108;iR127;iR1;M1)

SNBA-1902-715, Neige au soleil couchant
Eng.: snow at the setting sun.

SNBA-1902-716, Notre-Dame de Paris
=1xxx, Sbl, 1CR672, Notre-Dame de Paris, 50×65. As an uncertain option I render: 1902ca, Sbl, Notre-Dame de Paris, neige, 46×65, MBA Rouen (HW18;iR3;iR23;iR1;M12) =Depeaux collection cat.1911.

SNBA-1902-717, Le bac (bords de la Seine)
Eng.: the ferry. As a very uncertain option I render: 1xxx, Ferry on the Bouille, xx, xx (iR2;iR10;iR1)

1903:

SNBA-1903-785, Bords du lac de Genève
SNBA-1903-786, Bords du lac de Genève
SNBA-1903-787, Bords du lac de Genève
SNBA-1903-788, Bords du lac de Genève
SNBA-1903-789, Bords du lac de Genève
SNBA-1903-790, Bords du lac de Genève
As uncertain options I render in a random order:
1xxx, Sbr, 1CR1667, Boats by The Banks of Lake Geneva at Saint-Gingolph, 65×81, A2021/12/14 (iR10;iR14;iR132;iR1)
1900, SDbr, The shores of Lake Geneva at Saint-Gingolph, 56×82, A2018/03/14 (iR78;iR10;iR11;iR1)
1xxx, Sbr, Sailing Boats At The Lake Of Leman At Meillerie In Haute-Savoie, xx, xx (iR10;iR132;iR64;iR41;iR1)
1902, SDbl, Voiliers à Saint-Gingolph, 52×74, A2017/06/22 (iR11;iR64;iR10;iR1)
1900ca, Sbl, Les bords du lac de Gèneve, à Saint-Gingolph, 53×80, A2011/10/11 (iR10;iR204;iR11;iR1)
1902, Sbl, Les bords du Lac de Genève, xx, xx (iR6;iR10;iR1)

1904:

SNBA-1904-729, Soleil couchant en hiver.

SNBA-1904-730, Matinée d’automne.

SNBA-1904-731, Matinée d’été.

SNBA-1904-732, En hiver.

SNBA-1904-733, Soir d’automne.
=1xxx, Sbr (Hondouville), 1CR524, L’Iton bordé de peupliers, à Hondouville, soir d’automne.

SNBA-1904-734, En automne.
As a very uncertain option I render: 1903-05ca, Sbl, La Seine aux environs de Paris, un automne, 46×73, A2020/10/23 (iR15;iR17;iR1) =GP1923-153

1909:

SNBA-1909-716, Bateaux à vapeur au garage
Eng.: Steamboats in the garage.

SNBA-1909-717, L’arrivée du bateau à vapeur au soleil couchant
Eng.: The arrival of the steamer at sunset. =1908, SDbl, 1CR1480, 75×110 =GP1918-76 (R390).

SNBA-1909-718, Le quai de la Tournelle et Notre-Dame de Paris par la neige
Eng.: in the snow.

SNBA-1909-719, La Bouille (Seine-Inférieure), matinée d’automne
Eng.: autumn morning.

SNBA-1909-720, Le passeur, matinée d’automne
(Appartient à M. X…). Eng.: the ferryman. As an uncertain option I render a picture that looks like an autumn scene: 1xxx, Sbr, Le Passeur, 55×73, A2012/02/09 (aR1;iR14;iR1)

SNBA-1909-721, Dans le port de Rouen, après-midi d’automne
Eng.: In the harbour of Rouen, autumn afternoon.

1910:

SNBA-1910-763, Les bateaux à voiles (après-midi d’hiver)
As an uncertain option I render: 1910, SDbl, 2CR, Voiliers sur la Seine, 68×101, A2012-02-10 (iR15;iR1)

SNBA-1910-764, La Cité (Paris) (matinée d’automne)
As a very uncertain option I render: 1909, SDbl, La Cité, Paris, matinée d’automne (à l’écluse de la Monnaie), 85×191, MPP Paris (iR195;M4;aR6;iR1). Compare also no.767.

SNBA-1910-765, La Bouille (Seine-Inférieure) (matinée d’été)
Appartient à M. L… =1909, SDbl, 1CR1484, 68×100 =GP1918-74. To compare I render: 1xxx, Sbl, 1CR1518, Bords de Seine à la Bouille, le matin, effet d’arbres et fleurs (large detail), 46×85, A2014/02/05 (iR11;iR15;iR10;iR1)

SNBA-1910-766, Bord de rivière (après-midi d’automne)
As a very uncertain option I render: 1907?, SDbl, The Banks of the Canal at Charenton, Sunny Autumn Afternoon, xx, xx (iRx;iR1)

SNBA-1910-767, A l’écluse de la Monnaie (soleil d’hiver)
Eng.: At the Mint Lock. Nl.: Bij de muntsluis. =1909, SDbl, À l’Écluse de la Monnaie, 84×130, MPP Paris (R390,p302;M4). I couldn’t find a picture. To compare I render: 1xxx, Sbr, 1CR301, Paris, l’écluse de la Monnaie (Pont-Neuf), soleil d’hiver, 82×116, Orsay (iR3;iR23;iR127;iR1;M1); and: 1906, SDbr, Paris, le Pont Neuf, 47×77, MPP Paris (iR195;iR3;M4;iR1).

SNBA-1910-768, L’étang (matinée d’automne)
Eng.: the lake (autumn morning)

1911:

SNBA-1911-808, L’Etang (Soleil couchant).

SNBA-1911-809, L’Etang (le matin).

SNBA-1911-810, La Somme à Amiens (en automne); Appartient à M. F…
Maybe: 1xxx, Sbr, The banks of the Somme in Amiens, autumn sun, 78×108, A2023?-04-08 (iR10;iR85;iR1;R390,p195) =GP1923

SNBA-1911-811, Amiens (en automne); Appartient à M. F…
Maybe: 1910, Sbl, 1CR94, La Cathédrale d’Amiens, effet de soleil d’automne, 46×65, A2016/07/24 (iR17;iR15;iR11;iR1)

SNBA-1911-812, Quai de Paris (Soleil couchant).

SNBA-1911-813, Bords de Seine (Environs de Rouen).
As a very uncertain option I render: 1911, SDbl, 2CR, Rouen, la Seine et le faubourg Saint-Sever, 27×46, A2023/06/07 (iR17;iR1).

1912:

SNBA-1912-807, La neige au couchant du soleil; Appartient à M. M..

SNBA-1912-808, Notre-Dame de Paris.
As a very uncertain option I render: 1910ca, Sbl, Notre-Dame de Paris, vue du quai de La Tournelle (le matin), 81×55, MAC Pont-Audemer (iR23;iR1)

SNBA-1912-809, Un ruisseau au printemps.

SNBA-1912-810, Matinée de printemps (bord de rivière).

SNBA-1912-811, Après-midi d’automne (bord de rivière).

SNBA-1912-812, Après-midi d’hiver.

1913:

SNBA-1913-746, Bac sur la Seine (matinée); Appartient à M. F..
Eng.: Ferry on the Seine (morning). =1912, SDbl, 1CR1483, Le Bac de la Bouille; le matin, 68×100 =GP1918-67. Now: 1912, SDbl, 1CR1483, Le Bac de la Bouille, le matin, 68×100, A2011/12/01 (iR11)

SNBA-1913-747, Les bords de la Marne; Appartient à M. F..
Maybe: 1912, SDbl, 1CR863 +2CR, La Marne au Parc-Saint-Maur, 66×121, A2011/05/20 (iR15;iR1;R390,no863;R391) GP1918,no68

SNBA-1913-748, Bords de rivière normande; Appartient à M. F..

SNBA-1913-749, La Rochelle; Appartient à M. F..
As a very uncertain option I render: 1900ca, Sbr, Le port de la Rochelle, 72×96, MAH Meudon (iR23;iR1)

SNBA-1913-750, Paysage.

SNBA-1913-751, Paysage.

1914:

SNBA-1914-741, Bord de rivière (matinée d’été).

SNBA-1914-742, Dans le port de Rouen.
As a very uncertain option I render: 1900ca, Sbr, Port de Rouen, 46×85, A2020/12/04 (iR17;iR1).

SNBA-1914-743, La rivière (soirée d’été).

SNBA-1914-744, La rivière (après-midi d’été).

 

Albert Lebourg at Regional exhibitions:
Lebourg sometimes exhibited at regional exhibitions (iR1).

Rouen-1878-?
Lebourg exhibited at the Exposition Municipale de Rouen in 1878 (aR1).

Mulhouse-1902-212, L’abside de Notre-Dame (temps d’orage); Appartient à M. Fritz Rivoire
Mulhouse-1902-1902-213, Bords de la Seine pendant l’Exposition de 1889; Appartient à M. Fritz Rivoire
Maybe: 1889, SDbl, The Algerian Palace on the banks of the Seine, Exposition Universelle of 1889, 39×74, private (iR2;iR1;R390)

Mulhouse-1905-269, La Seine à Rouen.
As a very uncertain option I render: 1903, SDbl, 1CR1371, Remorqueurs à Rouen, Barges at Rouen, 50×74, Orsay (iRx;iR127;R390,no1371;iR1;M1)
Mulhouse-1905-270, Bateaux à Rotterdam (Hollande).
As a very uncertain option I render: 1895-97ca, Sbr, Canal à Rotterdam, 38×55, A2017/03/02 (iR11;iR1)

Rouen-1907-?
Lebourg exhibited in Rouen in 1906 according to Samuel Frère (1911) (aR1)

Rouen-1907-151, La Seine à Rouen.
Maybe a loan by M. Bernheim whose correspondance address was given.

Mulhouse-1908-235, La Seine à Maison-Laffitte.

Mulhouse-1911-210, Boulogne s/Mer, Les quais.
As an uncertain option I render: 1xxx, Sbr, Bateaux au quai, Boulogne-sur-Mer, 39×64, A2017-12-13 (iR15;iR1)
Mulhouse-1911-1911-211, Soleil couchant (Pont des Arts, Paris)
Mulhouse-1911-1911-212, Canal à Rotterdam.
As a very uncertain option I render: 1896, SDbl, 1CR300, Moulins à vent sur la route de Rotterdam à Overschie, effet de soleil couchant, 39×62, A2021/11/16 (iR17;iR1) =GP1918-128

Épinal-1911-234, Marine au Puy, près Dieppe.
Épinal-1911-235, Les Pontons sur la Seine.

Nantes-1913-257
=1911, SDbl, 1CR1519, Bords de la Seine, environs de Rouen, 46×85 (R390). To compare I render: 1xxx, Sbr, Bords de Seine aux environs de Rouen, 50×65, A2012/02/09 (aR1;iR14;iR1)

Mulhouse-1914-228, La mer à Dieppe.
Mulhouse-1914-1914-229, Le pont de Surèsnes.

 

Albert Lebourg at the Exposition Universelle:
In 1900 Albert Lebourg exhibited 3 paintings (all loans) at the Centennial exhibition of the Exposition Universelle. Lebourg also had a whole room of his own showing studies called ‘Série algérienne’ exhibited at the Pavillon Algérien (or orientalistes) in the Trocadéro. This thanks to his future biographe Léonce Bénédite, who was at that moment conservator of Musée du Luxembourg (R88I,p427;aR7;iR261;R390). He received a ‘médaille argent’ (R231/iR40;iR1;R3;aR1); some call it a silver medal (iR3).

EU-C-1900-407, Neige en Auvergne (à M. L. X…)
=1CR111, 1xxx, Sbl, Neige en Auvergne; le pont sur l’Allier à Pont-du-Château (Puy-de-Dôme), 59×81, (R390,no111); =1st Roger Marx sale GMJ1914/05/09, no34. To compare I render: 1884, Sbl, 1CR122?, L’Hiver à Pont du Château, 46×76, A2021-04-14 (iR15;R231/iR40;iR1)

EU-C-1900-408, Rouen, vu du cimetière monumental (à M. H. Vever)
=1xxx, Sbr, 1CR1353, Rouen, le matin; vue panoramique de la ville et de la vallée de la Saine, prise du Cimetière Monumental, 50×73 =GP1918-169.

EU-C-1900-409, Lever de soleil par la neige (à M. Viau)
=1CR1116=DR1907/03/02-33 (Viau sale)
Info catalogue: Lebourg (Albert): Lever de soleil par la neige
painting, toile, 46 x 61 cm  “Un charretier longe le côté d’une route solitaire bordée de poteaux télégraphiques et s’éloigne vers le fond du paysage couvert de neige. A gauche, au delà d’un repli de terrain, les collines du Mont-Valérien où le soleil levant vient dissiper les brumes matinales. Signé à gauche. […] (Exposition Centennale 1900. N° 409 du Catalogue.)” (iR261)
Eng.: A cart driver drives along the side of a lonely road lined with telegraph poles and away into the snow-covered landscape. To the left, beyond a fold of land, the hills of Mont-Valérien where the rising sun is clearing away the morning mist.
Mont-Valérian is the name of a Fort in Suresnes (iR9). I couldn’t find a location with hills. Nor a picture that fits the discription.

EU-1900-Série algérienne.
=1875, SDbl (Alger 75), 1CR79, Etal de boucherie, à Alger, 33×22 =EU-1900.
Compare: 1872-77, Sbl, Etal de boucherie, à Alger, 41×27, A2019/12/20 (iR11;iR10).

EU-1900-Série algérienne.
=1875, SDbl (1875), 1CR30, Maison mauresque, à Alger, 22×41. Probably: 1875?, SDbl, Moorish House in Algiers, 22×41, A2016/08/16 (iR2;iR11)

EU-1900-Série algérienne.
=1877, SDbl (77), 1CR45, Tente de campement d’un grand chef arabe, 15×34 =GP1918-53 (aR7;R390,no45).

EU-1900-Série algérienne.
Viau-DR1907/03/19, no47, Une Rue à Alger 1872.
painting, toile, 41 x 27 cm  “A gauche, sous le soleil qui éclaire le haut des maisons aux murs crépis à la chaux, les échoppes et les boutiques arabes. Dans le fond, au tournant de la rue, un marchand est assis sur le pas de sa porte. Signé à droite et daté : 1872. […] (Exposition Universelle de Paris, 1900. Pavillon Algérien, Trocadéro.)”
Eng.: On the left, in the sunlight shining down on the tops of the whitewashed houses, are the Arab stalls and shops. In the background, at the bend in the road, a merchant sits on his doorstep.

 

Albert Lebourg at Centennial exhibitions:
Works of Lebourg were exhibited at Centennial exhibitions (iR261).

Saint-Petersbourg-1912-375, La Seine à Bougival (The Seine at Bougival]
Lebourg several times depicted the Seine at Bougival. Several showed winterscenes, which is not mentioned in this title. As a very uncertain option I render a Summer scene: 1xxx, Sbl, Bougival en été, 46×65, A2011/07/08 (iR11;iR15;iR261).

Saint-Petersbourg-1912-376, La Route montante (Road to the Mountain] (sic) [Paul Rosenberg in Paris]
As very uncertain options I render 2 pictures of a road leading on high: 1xxx, Sbl, La charrette dans la neige, sur la route de Mont-Gargan (Rouen), 50×66, A2022/11/19 (iR15;iR261); and: 1xxx, Sbr, Chevaux sur le chemin à l’entrée du village, 22×27, A2020/05/06 (iR17;iR14;iR261)

Dresden-1914-2161,
=DR1907/03/02-35, La Seine près de Rouen.
Info catalogue: Lebourg (Albert): La Seine près de Rouen.
painting, toile, 35 x 65 cm  “Vers la gauche du paysage éclairé par les lueurs du soleil couchant, un navire au pavillon déployé, toutes voiles carguées, est amarré près du quai où des piles de planches et de madriers sont entassées près d’un appontement sur pilotis s’avançant dans le fleuve. Au loin, sur l’autre rive, la ligne des collines, indécise sous la brume bleuâtre, contourne la Seine. Signé à gauche. […] (Exposition de Dresde, 1904. N° 2161 du Catalogue.)”
Eng.: To the left of the landscape, illuminated by the glow of the setting sun, a ship with its flag unfurled and its sails heeled is moored near the quayside, where piles of planks and timbers are piled up near a jetty on piles extending into the river. In the distance, on the other bank, the line of hills, indistinct under the bluish mist, the contours of the Seine are visible.
I couldn’t find a picture that fits the discription.

Dresden-1914-2162,
=DR1907/03/02-33, Le Port de Dieppe. (Viau sale)
Info catalogue: Lebourg (Albert): Le Port de Dieppe.
painting, toile, 35 x 65 cm  “Au premier plan, le port et les maisons du Pollet alignées sur le quai. A droite, par les portes de l’écluse que l’on vient d’ouvrir l’eau s’écoule en larges nappes, et vient remplir le bassin en partie asséché où les bateaux sont échoués sur le sable. Eclaircies dans le ciel chargé de nuages. Signé à droite. […] (Exposition de Dresde, 1904. N° 2162 du Catalogue.)” (iR261).
Eng.: In the foreground, the port and the houses of Le Pollet lining the quay. To the right, through the lock gates that have just been opened, the water flows in wide sheets, filling the partly dried-up basin where the boats are beached on the sand. Light in the cloudy sky.
=!? 1xxx, Sbr, Le Port (Bassin) de Dieppe et le Pollet, 36×65, A2012-01-26 (iR15;iR78)

 

Albert Lebourg at La Libre Esthétique:
Lebourg joined La Libre Esthétique in Brussels in 1910 (iR261).

17LE-1910-127, Après-midi d’automne à Carrière-St-Denis.
As a very uncertain option I render: 1899, SDbr, Carrière Saint-Denis, 50×73, A2007/02/06 (iR333;iR2;iR11;iR261)

17LE-1910-128, Notre-Dame en hiver.
17LE-1910-129, Fortifications; effet de neige.

 

Albert Lebourg at other International exhibitions:
Lebourg took part at several International exhibitions, sometimes even called “impressionist“, anyway from 1905-1914 (iR261).

Munich-1905-732a, Am Ufer des Allier (Eng.: On the banks of the Allier)

Bremen-1906-186, Nebel (Fog)
Bremen-1906-187, Schneelandschaft (Snow landscape)

Venice-1907-30, La Senna a Muids (Eng.: The Seine at Muids)
As a very uncertain option I render: 1903, SDbr, Les bords de Seine à Muids, 54×81, A2016/06/01 (iR11;iR1;iR1;iR261)
Venice-1907-31, Hondoville.

Prague-1907-III-68, Seina v Rouenu [Seine in Rouen]
Prague-1907-III-69, Okraj cesty [Edge of a Road]
Prague-1907-III-70, Dieppe [Dieppe]
Prague-1907-III-71, Seina v Billancourtu [Seine in Billancourt]
Prague-1907-III-72, La Rochelle [La Rochelle]

Leipzig-1910-91, Blick auf eine Straße im Sommer (Eng.: View of a street in summer)
Leipzig-1910-92, Blick auf Rouen (View on Rouen)
As a very uncertain option I render: 1899-1900ca, Sbl, Vue de Rouen, 46×65, A2020/12/04 (iR17;iR1)
Leipzig-1910-93, An der Seine (Along the Seine)

Amsterdam-1912-403, De avond  (Eng.: Evening)
Amsterdam-1912-404, Ochtend, oevers van de Seine  (Eng.: Morning, banks of the Seine)

Budapest-1913-2-9,  Tájkép [Landscape]
Budapest-1913-3-18, La Seine (Bernheim Jeune, Paris)
Budapest-1913-3-19, Route à Delf (Bernheim Jeune, Paris)
As an uncertain option I render: 1xxx, Sbl, Landscape (Delft), op, 26×35, A2008-05-21 (iR15;iR11;iR261)

 

Albert Lebourg at auction sales:
Works of Lebourg were bought by many private persons. At sometime these works were auctioned again. I will mention some auctions from important art-collectors.

Viau-DR1907/03/02, no30, Le Pont de Neuilly.
painting, toile, 46 x 76 cm  “A droite, longeant la Seine où se reflètent les lueurs du soleil à son déclin, le quai est bordé par une balustrade en bois, aux piliers espacés. Plus loin, sur la chaussée, quelques promeneurs et une femme tenant à la main un enfant. A gauche, au delà des arches du pont, une rangée de constructions. Le ciel est parsemé de nuages, plus compacts vers le fond. Signé à droite.”
Eng.:  To the right, running alongside the Seine, where the glow of the fading sun is reflected, the quay is bordered by a wooden balustrade with spaced pillars. Further along the roadway, a few strollers and a woman holding a child. To the left, beyond the arches of the bridge, a row of buildings. The sky is dotted with clouds, more compact towards the background. Signed on the right.

Viau-DR1907/03/02, no31, Panorama de la Seine à Bellevue.
painting, toile, 46 x 73 cm  “Au premier plan, les hauteurs des Bellevue et quelques maisons groupées vers la gauche du paysage. Plus loin, descendant vers la rivière, les jardins entourant les maisons de campagne s’étendent jusqu’à la berge. Au delà, on aperçoit le pont de Sèvres et une partie de la rive opposée, où un rideau de verdure cache quelques-unes des piles du pont. Au fond, les coteaux de Saint-Cloud. Ciel mouvementé. Signé à droite.”
Eng.: In the foreground, the heights of Bellevue and a few houses grouped together to the left of the landscape. Further down towards the river, the gardens surrounding the country houses stretch right down to the bank. Beyond, you can see the Pont de Sèvres and part of the opposite bank, where a curtain of greenery hides some of the bridge piers. In the background, the hills of Saint-Cloud. Turbulent skies.
To compare I render: 1xxx, Sbl, Le bas de Meudon depuis les hauteurs de Bellevue, 44×63, A2017/11/14 (iR15;iR1;iR261).

Viau-DR1907/03/02, no32, Le Pont des Saints-Pères; après-midi d’été.
painting, toile, 40 x 65 cm  “Au premier plan, à proximité d’un ponton des bateaux-mouches, un tas de sable vers lequel se dirige une femme en bonnet blanc. Plus loin, la note claire des eaux de fleuve fuyant sous les arches du pont que traversent des voitures et des passants. A droite du pont, le Louvre ; sur la gauche, les maisons du quai Malaquais. Signé à gauche : A. Lebourg, Paris.”
Eng.: In the foreground, near a steamboat pontoon, a pile of sand towards which a woman in a white bonnet is walking. In the distance, the clear note of the river’s waters flowing under the arches of the bridge, crossed by carriges and passers-by. To the right of the bridge, the Louvre; to the left, the houses of Quai Malaquais. Signed on the left:

Viau-DR1907/03/02, no33, Lever de soleil par la neige.
painting, toile, 46 x 61 cm  “Un charretier longe le côté d’une route solitaire bordée de poteaux télégraphiques et s’éloigne vers le fond du paysage couvert de neige. A gauche, au delà d’un repli de terrain, les collines du Mont-Valérien où le soleil levant vient dissiper les brumes matinales. Signé à gauche. […] (Exposition Centennale 1900. N° 409 du Catalogue.)”
Eng.: A cart driver skirts the side of a lonely road lined with telegraph poles and drives off into the snow-covered landscape. To the left, beyond a fold of land, the hills of Mont-Valérien, where the rising sun is clearing away the morning mist. Signed on the left.

Viau-DR1907/03/02, no34, Le Port de Dieppe.
painting, toile, 35 x 65 cm  “Au premier plan, le port et les maisons du Pollet alignées sur le quai. A droite, par les portes de l’écluse que l’on vient d’ouvrir l’eau s’écoule en larges nappes, et vient remplir le bassin en partie asséché où les bateaux sont échoués sur le sable. Eclaircies dans le ciel chargé de nuages. Signé à droite. […] (Exposition de Dresde, 1904. N° 2162 du Catalogue.)”
Probably: 1xxx, Sbr, Le Port (Bassin) de Dieppe et le Pollet, 36×65, A2012-01-26 (iR15;iR78;iR11;iR10;iR261)

Viau-DR1907/03/02, no35, La Seine près de Rouen.
painting, toile, 35 x 65 cm  “Vers la gauche du paysage éclairé par les lueurs du soleil couchant, un navire au pavillon déployé, toutes voiles carguées, est amarré près du quai où des piles de planches et de madriers sont entassées près d’un appontement sur pilotis s’avançant dans le fleuve. Au loin, sur l’autre rive, la ligne des collines, indécise sous la brume bleuâtre, contourne la Seine. Signé à gauche. […] (Exposition de Dresde, 1904. N° 2161 du Catalogue.)”
Eng.: To the left of the landscape, illuminated by the glow of the setting sun, a ship with its flag unfurled, sails furled, is moored near the quay where piles of planks and timbers are piled up next to a pier on stilts jutting out into the river. In the distance, on the other bank, the line of hills, indistinct under the bluish mist, skirts the Seine. Signed on the left.

Viau-DR1907/03/19, no42, Rotterdam; temps brumeux 1896.
painting, toile, 50 x 73 cm  “A gauche du canal, une pointe de berge où sont amarrés des chalands et quelques péniches, à proximité d’un grand navire aux voiles carguées. Dans un canot, un batelier en blouse bleue cause avec un homme. Sur l’autre rive, les maisons du quai et un moulin s’estompent dans la brume, empourprée par les lueurs du couchant. A droite, sur le canal, des pilotis et une estacade. Signé à gauche et daté: Rotterdam 1896.”
Eng.: To the left of the canal, a point of bank where barges and a few houseboats are moored, close to a large ship with keeled sails. In a dinghy, a boatman in a blue smock chats with a man. On the other bank, the houses on the quay and a mill fade into the mist, tinged with the glow of sunset. To the right, on the canal, pilings and a boom. Signed on the left and dated:

Viau-DR1907/03/19, no43, Canal aux environs de Schiedam 1896.
painting, toile, 40 x 73 cm  “Au premier plan, longeant un canal, le chemin de halage est bordé à gauche par une rangée d’arbres. Vers la droite, plusieurs bateaux sont amarrés près de la berge où un homme en blouse bleue vient d’attacher son canot. Ciel couvert de nuages dont les contours rosés reflètent le soleil à son déclin. Signé à gauche et daté: Schiedam 1896.”
Eng.: In the foreground, along a canal, the towpath is bordered on the left by a row of trees. To the right, several boats are moored near the bank, where a man in a blue smock has just tied up his dinghy. Cloud-covered sky with pink outlines reflecting the fading sun. Signed on the left and dated:

Viau-DR1907/03/19, no44, La Seine à Bercy.
painting, toile, 39 x 72 cm  “La berge, où sont amarrées plusieurs péniches, occupe tout le premier plan. Sur l’autre rive, disséminées le long du quai, les maisons détachent leurs façades sur le ciel d’été que vient voiler une nuée d’orage. Signé à droite.”
Eng.: The riverbank, where several barges are moored, occupies the foreground. On the other bank, scattered along the quay, houses stand out against a summer sky veiled by a storm cloud. Signed on the right.

Viau-DR1907/03/19, no45, Le Quai Notre-Dame.
painting, toile, 46 x 65 cm  “Tout le premier plan est envahi par une épaisse couche de neige qui couvre également une partie des fûts alignés sur la berge de la Seine. Plus loin, près du parapet, un embarcadère des bateaux-mouches et une grue à vapeur. Au fond, le chevet de l’église Notre-Dame et, vers la gauche, le pont de l’Archevêché. Signé à gauche.”
Eng.: The entire foreground is invaded by a thick layer of snow, which also covers some of the barrels lining the banks of the Seine. Further on, near the parapet, a bateau-mouche pier and a steam crane. In the background, the chevet of Notre-Dame church and, to the left, the Archevêché bridge. Signed on the left.
Maybe: 1891-95, Sbl, Notre-Dame de Paris par temps de neige, 46×65, MBA Lille (iR10;iR108;iR23;iR127;iR261;M17) =expo Rosenberg 1903.

Viau-DR1907/03/19, no46, Le Pont Royal et le Pavillon de Flore.
painting, toile, 40 x 65 cm  “Au premier plan, à droite, la berge où stationnement quelques tombereaux attelés de chevaux blancs. Sur le fleuve, que traversent les arches massives du pont Royal, l’embarcadère des bateaux-mouches et une péniche sont amarrée le long du quai. Signé à droite.”
Eng.: In the foreground, to the right, the riverbank, where a few white horse-drawn carts are parked. On the river, crossed by the massive arches of the Pont Royal, the bateaux-mouches pier and a barge are moored along the

Viau-DR1907/03/19, no47, Une Rue à Alger 1872.
painting, toile, 41 x 27 cm  “A gauche, sous le soleil qui éclaire le haut des maisons aux murs crépis à la chaux, les échoppes et les boutiques arabes. Dans le fond, au tournant de la rue, un marchand est assis sur le pas de sa porte. Signé à droite et daté : 1872. […] (Exposition Universelle de Paris, 1900. Pavillon Algérien, Trocadéro.)”
Eng.: To the left, in the sunlight shining down on the tops of the whitewashed houses, we see Arab stores and boutiques. In the background, at the bend in the street, a merchant sits on his doorstep. Signed on the right and dated

 

Roger Marx-GMJ1914/05/09, no34, Neige en Auvergne.
painting, Toile, 59 x 81 cm  “A gauche, un pont de pierre conduit à une maison à deux étages qui semble en garder l’entrée. A droite, sur la rivière, flottent des glaçons. Sur la berge, au premier plan du paysage accidenté, une rangée de petits arbres. Au fond, et occupant toute la largeur de la composition, une longue ligne de coteaux. Signé à gauche : A. Lebourg. (Exposition Centennale de 1900. N° 407 du Catalogue.)”
Eng.: To the left, a stone bridge leads to a two-storey house that seems to guard the entrance. To the right, ice cubes float on the river. On the bank, in the foreground of the rugged landscape, a row of small trees. In the background, occupying the entire width of the composition, a long line of hills. Signed on the left.
Compare: 1884, Sbl, 1CR122?, L’Hiver à Pont du Château, 46×76, A2021-04-14 (iR15;R231/iR40;iR1)

Roger Marx-GMJ1914/05/09, no35, Brume du matin. — Pont d’Austerlitz.
painting, Toile, 42 x 73 cm  “A droite, la berge couverte d’une herbe clairsemée, où sont amarrés en double ligne les chalands et les remorqueurs s’apprêtant à partir. A gauche, l’autre rive s’estompe dans les tons gris rose du ciel. Signe à droite : Albert Lebourg.”
Eng.: To the right, the sparsely grass-covered bank, where barges and tugs are moored in a double line, preparing to leave. To the left, the other bank fades into the pink-grey tones of the sky. Signed on the right

Roger Marx-GMJ1914/05/09, no36, Vue de Rouen.
painting, Toile, 40 x 65 cm  “La lumière argentée des matins rouennais baigne le quai et les chalands amarrés au premier plan à gauche, la flèche de la cathédrale et une perspective de maisons, dont les pignons sont éclairés, à droite, par le jour naissant. Signé à droite : A. Lebourg.”
Eng.: The silvery light of Rouen mornings bathes the quay and the barges moored in the foreground on the left, the cathedral spire and a perspective of houses, their gables illuminated by the dawning day on the right. Signed on the right

Roger Marx-GMJ1914/05/09, no37, Un Quai de la Seine. — Paysage d’hiver.
painting, Toile, 38 x 61 cm  “A droite, le quai couvert de neige et s’élargissant vers le fond. Une rangée de tonneaux s’aligne sur la berge limitée par des maisons. A gauche, le fleuve. A l’horizon, un grand pont. Ciel nuageux avec trouée bleu-vert au centre. Signé à droite : A. Lebourg.”
Eng.: On the right, the snow-covered quay widens towards the end. A row of barrels lines the bank, which is bordered by houses. To the left, the river. On the horizon, a large bridge. Cloudy sky with a blue-green hole in the centre.
=1CR1129 (R390).

Roger Marx-GMJ1914/05/09, no38, Le Bassin d’Honfleur 1901.
painting, Toile, 40 x 65 cm  “Dans la clarté légère du matin, le bassin d’Honfleur au centre ; à quai, une goélette à deux mâts. Au premier plan, à droite, un canot ; au fond, la ville et ses coteaux. Signé à gauche : A. Lebourg et daté : Honfleur, 1901”
Eng.: The Honfleur basin in the center, a two-masted schooner alongside. In the foreground, on the right, a canoe; in the background, the town and its hills.
=1CR1241, Le Bassin d’Honfleur, effet du matin (R390).

Roger Marx-GMJ1914/05/09, no39, Honfleur. — Matinée de printemps.
painting, Toile, 40 x 65 cm  “Dans le port aux eaux bleues, quelques barques. Au fond, les quais et le groupement pittoresque des maisons. Dépassant la ligne des collines, la flèche d’une église se silhouette dans le ciel. Signé à gauche : Albert Lebourg, Honfleur.”
Eng.: A few boats in the blue harbour. In the background, the quays and the picturesque grouping of houses. Beyond the line of hills, a church spire silhouettes itself against the sky.
=1CR1238 (R390).

Roger Marx-GMJ1914/05/09, no40, A Bois-Guillaume, près Rouen.
painting, Toile, 46 x 73 cm  “Les constructions de la ville occupent une vallée limitée, au fond, par des coteaux. Au milieu, se dresse la cathédrale de Rouen. A gauche, au delà des maisons du premier plan, une prairie et des bosquets. Du même côté, le clocher de pierre de Bois-Guillaume. Signé à gauche : A. Lebourg, Rouen”
Eng.: The city’s buildings occupy a valley bounded by hills. In the middle stands Rouen Cathedral. To the left, beyond the houses in the foreground, a meadow and groves. On the same side, the stone bell tower of Bois-Guillaume. Signed on the left
=1CR1603 (R390).

Roger Marx-GMJ1914/05/09, no41, Vue de Honfleur 1878.
painting, Toile, 30 x 58 cm  “A gauche, le quai haut où des voitures chargent des denrées. Au fond, les maisons de la ville. Vers la droite, dans le port, quelques bateaux à coques noires et hautes mâtures. Sur l’autre rive, diverses embarcations. Fond de collines. Signé à gauche : A. Lebourg et daté : 1878”
Eng.: To the left, the high wharf where carriages load goods. In the background, the town houses. To the right, in the harbor, a few black-hulled, tall-masted boats. On the other bank, various boats. Backdrop of hills.
=1CR1279 (R390).

Roger Marx-GMJ1914/05/09, no42, Rouen.
painting, Toile, 38 x 61 cm  “La côte Sainte-Catherine occupe toute la gauche du tableau. Au premier plan, le quai et, plus loin, des usines aux toits couverts de neige. Sur le fleuve, un train de chalands. Au loin à droite, des peupliers. A l’horizon, les coteaux d’Amfreville-la-Mi-Voie. Signé à gauche : Albert Lebourg, Rouen.”
Eng.: Côte Sainte-Catherine occupies the left-hand side of the picture. In the foreground, the wharf and, further away, factories with snow-covered roofs. On the river, a train of barges. Far right, poplars. On the horizon, the hills of Amfreville-la-Mi-Voie. Signed on the left
=1CR1440 (R390).

Roger Marx-GMJ1914/05/09, no43, Matin d’Hiver.
painting, Toile, 38 x 60,5 cm  “Sous la neige, le quai et ses maisons, un ponton d’embarquement et le rivage tournant vers la droite. Au premier plan, un cheval et son cavalier. A droite, le fleuve où se reflètent les feux de l’aube rose. Au fond, une chaîne de collines s’estompant dans les brumes. Signé à gauche : A. Lebourg.”
Eng.: Under the snow, the quay and its houses, a loading dock and the shoreline turning to the right. In the foreground, a horse and rider. To the right, the river, reflected in the light of a pink dawn. In the background, a chain of hills fading into the mist. Signed on the left
=1CR1141 =GP1918-73 (R390).

Roger Marx-GMJ1914/05/09, no44, Notre-Dame de Paris 1900.
painting, Toile, 45,5 x 55 cm  “Au premier plan, sur le quai, une coulée d’ombre gris bleu. Plus loin, en plein soleil, un homme debout. A droite, la cabine d’un ponton ; au fond à gauche, le pont Notre-Dame continue par le terre-plein de l’abside. Emergeant des arbres, la masse imposante de la cathédrale. Signé à droite : A. Lebourg et daté : 1900.”
=1CR806 Maybe: 1900, SDbr, Notre-Dame de Paris, vue du Quai de la Tournelle, 46×55, A2002/06/25 (iR11;iR13;iR10;iR1;iR261)

Roger Marx-GMJ1914/05/09, no45, Quai de la Seine. — Matin de Printemps.
painting, Toile, 39 x 61 cm  “Au premier plan, en contrebas, le quai avec des pontons. A droite, plus loin, une maisonnette aux murs rouges que dépassent deux arbres menus. A gauche, sur la Seine, un remorqueur d’où s’échappe un panache de fumée blanche. Tout au fond, un pont et la silhouette de plusieurs constructions. Signé à droite : A. Lebourg, Paris.”
Eng.: In the foreground, below, the quay with pontoons. To the right, a little house with red walls and two small trees. To the left, on the Seine, a tugboat billowing a plume of white smoke. In the background, a bridge and the silhouette of several buildings.
=1CR776 (R390) =!? 1xxx, Sbr, Quai de la Seine à Bercy, matin printemps, 39×61, A2017/05/31 (iR11;iR261;R390,no776)

Roger Marx-GMJ1914/05/09, no46, Le Port de Rotterdam. — Crépuscule du matin. 1891.
painting, Toile, 40 x 65 cm  “Dans la brume, un quartier de la ville avec deux moulins profile sur le ciel gris ; au milieu, une goélette haut mâtée. A gauche, d’autres bateaux sont amarrés le long du rivage. Dans le ciel, quelques nuages commencent à rosir. Signé à droite : A. Lebourg et daté : Rotterdam 1891.”
Eng.: In the mist, a part of the town with two windmills stands out against the grey sky; in the middle, a high-masted schooner. To the left, other boats are moored along the shore. In the sky, a few clouds are beginning to turn pink.
=1CR281. Note: Bénédite links it to two works: 1CR275 (dated 1895); and 1CR281 (dated 1896). (R390).

Roger Marx-GMJ1914/05/09, no47, Le Boulevard et la Mosquée de la Pêcherie à Alger 1875.
painting, Toile, 31 x 46 cm  “Une promenade où, parmi les ombrages vert sombre éclairés à gauche par une éclatante lumière, la mosquée à droite arrondit son dôme sous les feuillages. Signé à gauche : A. Lebourg et daté : Le Hammam 1875.”
Eng.: A path where, among the dark green shadows lit by a bright light on the left, the mosque on the right rounds out its dome under the foliage. Signed on the left

Roger Marx-GMJ1914/05/09, no48, Le Port d’Alger. 1876.
painting, Toile, 31 x 46,5 cm  “Au premier plan, à droite, les eaux miroitantes du port de la Pêcherie. Au fond, du même côté, sont amarrés des bateaux noirs, au pied des arcades et des terrasses blanches. A gauche, l’arche d’une voûte que surmonte un bâtiment à coupole ; plus loin, un minaret. Ciel nuageux. Signé à gauche : A. Lebourg et daté : Alger 1876.”
Eng.: In the right foreground, the shimmering waters of the Port de la Pêcherie. In the background, on the same side, black boats are moored at the foot of white arcades and terraces. To the left, the arch of a vault surmounted by a domed building; further on, a minaret. Cloudy sky.
= 1876, SDbl, 1CR15, The Port Of Algiers, 31×47, Orsay (iR78;iR2;iR23;iR10;R89,p39;iR40;iR261;aR7;R390,no15;R2,p312;R90I,p294;M1) =1876, SDbl (Alger 76), 1CR15, Le Port d’Alger, 31×47 =GMJ-1914/05/11-48, Le Port d’Alger =GP1918-110.

Roger Marx-GMJ1914/05/09, no49, Le Bazar oriental.
painting, Toile, 45 x 37 cm  “C’est tout le pittoresque d’un coin de souk : grands paniers débordants de fruits roses, étoffes et couffins suspendus autour de la porte… Au fond à droite, au-delà d’une maison au crépi blanc, quelques personnages à l’entrée d’une rue bordée de hautes murailles. Signé à droite : A Lebourg.”
Eng.: It’s all the picturesqueness of a souk corner: large baskets overflowing with pink fruit, fabrics and baskets hanging around the door… In the background on the right, beyond a white-rendered house, some figures at the entrance to a street lined with high walls. Signed on the right

Roger Marx-GMJ1914/05/09, no50, Rouen. — La Côte Sainte-Catherine 1894.
painting, Toile, 65 x 100 cm  “Au premier plan, sur la berge de la Seine qui tourne à gauche au pied des usines, des débardeurs sont au travail. Dans la lumière rose du ciel crépusculaire, la ligne blonde des coteaux s’incurve à droite et se reflète dans le fleuve. A l’horizon, un rideau de peupliers, le pont du chemin de fer, dans une atmosphère gris bleu ; plus loin, l’autre rive et quelques bateaux. Signé à gauche: A. Lebourg et daté; Rouen 1894”
Eng.: In the foreground, on the bank of the Seine that bends to the left at the foot of the factories, longshoremen are at work. In the pink light of the twilight sky, the blond line of the hills curves to the right and is reflected in the river. On the horizon, a curtain of poplars, the railroad bridge, in a blue-gray atmosphere; further on, the other bank and a few boats. Signed on the left
=1CR1306, former Kélékian collection (R390).

 

 

Recommanded citation: “Impressionism: Albert Lebourg, account of his exhibited works. Last modified 2024/01/28.  https://www.impressionism.nl/lebourg-account/