Legros, account

 

 

Impressionism, a historical reconstruction:

Alphonse Legros

(1837-1911)

Account

of his exhibited art-works

 

Works Alphonse Legros exhibited in 1876 and at the Salon:
On this page you will find the titles of the works Alphonse Legros exhibited at the 2nd ‘impressionist’ exposition in 1876 and at the Salon. Also you will find an account of which works that are known today were exhibited then. Also you will find extra information. See for the used sources below at the main page about Alphonse Legros. See link for the pictures exhibited in 1876 and at the Salon.

 

General overview 1876:

  • catalogue numbers 81 – 92: =12
  • No.81 containing 7 works: 12+6=18;
    no. 83 containing 7 works: 18+6=24;
    no.88 containing 2 works: 24+1=25
  • so in total Legros exhibited 25 works ;
  • many works were prints, but it is unclear how many;
  • Moffett suggests the possibility that all works were etchings, being most doubtfull about no.91 (R2,p162+178).
  • Clayson assumes 24 etchings were exhibited (R2,p158,note10), but doesn’t suggest there was one painting.
  • Rivière mentions that Legros ‘exhibited several engravings and some lithographes’, but he doesn’t explicitly denies that Legros exhibited oil paintings.
  • Berson assumes all works exhibited were engravings.
  • I assume all works were engravings. In the catalogue more specific techniques are indicated. Most works not indicated are certainly known as etchings. I think that if some works were paintings, this would have been indicated in the catalogue.
    Still, I will render some oil paintings to compare.
  • Moffett often refers to a catalogue of prints by Poulet-Malassis, but nowhere is given more details about this catalogue (R2,p162)
    • 2x an indication of place
    • 1x an indication of time, season or weather
    • 0x a study
    • 0x a loan
  • See for the suggestions of Moffett (R2,p162+178) and Berson (R90II,p37-40+52-56). They refer to the catalogue numbers of Malassis & Thibaudeau (1877=aR13=iR40), which seem to the same as Beraldi (1889=R85IX=aR1=iR40), Bliss (1923) and Soulier (1904=aR7=iR19) and will be referred to as CR = Catalogue Raisonné.
  • Note 1: there were just two reviews who described (shortly) just 6 works. Berson gives for all the exhibited works suggestions, except no.83-5-2. But I assume that for several works there are alternatives with similar titles. So I will render her suggestions with some uncertainty and sometimes I will give an additional suggestion. (And mostly it is uncertain if the just state of the etch is rendered.)
  • See link for the pictures.

Reviews:
L’Audience (1876/04/09) just mentions 3 titles (no.81-1, 83-6+86) (R90I,p53; Rv34)
Emile Blémont (pseudonym of Emile Petitdidier; R2,p152) 1876/04/09 reviewed ‘In the first room one first encounters the etchings of M. Legros, send in from London.’ (=Rv35***) (R90I,p62-64).
Ph. Burty (1876/04/15; Rv43) reviewed in the Academy (London)  ‘In the first room were …early and late etchings by Legros*;’ (R90I,p65/6).
Earlier Burty had reviewed ‘One sees at this free exposition in the first room engravings of Desboutins (sic) and Legros; studies in watercolour and with pencil by Morizot (sic), Degas and Millet.’ (R90I,p105-106;R2,p153 =Rv16**).
Dax / Rivière (1876/05/01 / 1876/04/13) reviews ‘M. Legros has exhibited several engravings and some lithographes of a strange character. (…) Mr. Legros’ work seems to come from the time of the old masters, everything is seen by a man from another century, which gives the work an invaluable gothic flavour. ‘ (R90I,p71; =Rv51).
A. de L. (=Alfred de Lostalot) reviewed 1876/04/01 in La Chronique des arts et de la curiosité ‘Last but not least the original etchings of Legros*, that are powerfull in their simplicity.’ (R90I,p87; =Rv10). 3 days later he added in another review ‘At last I like to note the powerfull and plain etchings of Legros*.’ (R90I,p87-88;R2,p156; =Rv26)
Laurent-Pichet in Le Phare de Loire 1876/06/01 remarked ‘M. Alphonse Legros has a skilled hand and a lively and original imagination.’ He then extendedly reviewed his portrait of M. Barbey d’Aurevilly (no.83-6) (iR437; Rv60)
Louis Leroy (1876/04/15) reviewed in Le journal amusant ‘There are some reasonable artists: (…) Desboutins* (sic) very weak as a painter, but interesting as an etcher; 500 times more my style than the pretentious etchings of Legros*.’ (R90I,p88 =Rv44).
Léon Mancino in L’Art (1876, vol.5; Rv1) In a footnote he remarks: we are very surprised to see the remarkable etchings of M. Legros*, …’ (Rv1**) (R90I,p97-98;R2,p152).
Un Passant 1876/04/02 in Le Rappel mentions ’the ingenious and striking submissions of Degas, Renoir, Legros, J.-B. Millet, Monet, Rouard (sic), Pissaro (sic), Ottin, Desboutins (sic), Caillebot (sic), Tillot, Lepic, Sisley, Cals, Beliard and the charming scenes of Mlle Berthe Morizot (sic),’ (Rv19; R90I,p101*)
Punch (1876/04/02) reviews the numbers 81-6 and 83-6 and introduces them with ‘The least bad is…’ (R90I,p105; =Rv20)

Catalogue 1876: (R2,p162;R90I,px;iR1)

2IE-1876-81
This catalogue number contains 7 works. Moffett assumes these are all prints (R2,p162), so does Clayson (R2,p158,note10) and Berson (R90II,p37).
2IE-1876-81-1, Les baigneuses
Eng.: The bathers. Perhaps Poulet-Malassis 69 (R2,p162), Berson affirms this suggestion (R90II,p37+52). Now: 1861, CR69, Les baigneuses (the bathers), ps, 34×23, BNF Paris (iR40,btv1b10545519b;iR105;R2,p162;R90II,p37+52).
2IE-1876-81-2, La procession
Rivière reviews ‘The procession where we see beings passing by like in a nightmare, the bedraggers with grinning white heads, of the folded bodies on themselves, sunken in the high oak seats, of women in prayer, of these old women all broken, reminiscent of Baudelaire’s little old ladies.’  (R90I,p71).
Perhaps Poulet-Malassis 48, 49 or 57 (R2,p162). Based on the Rivière review Berson only suggests PM49, 1877, Procession dans une églese espagnole, etch, 5/5, 42×70, BNF Paris (R90II,p,p37+52). I agree with Berson. PM49 is now: 1855-65, CR49, Procession dans une église espagnole, etch, 41×68, BNF Paris (iR40,btv1b10545660r;R2,p162;R90II,p37+52).
2IE-1876-81-3, Ambulance
Eng.: ambulance; field hospital. Perhaps Poulet-Malassis 124 (R2,p162), Berson affirms this suggestion (R90II,p37+52).Now: 1855-61, CR124, L’ambulance (Scène du coup d’état 1851/12/02), etch, 37×27, BNF Paris (iR40,btv1b525061570;R2,p162;iR105;R2,p162;R90II,p37+52).
2IE-1876-81-4, Promenade (pointe sèche)
Perhaps Poulet-Malassis 68 (R2,p162), Berson affirms this suggestion: 1876-, La promenade du convalescent, ps 2/2, 28×20, BNF Paris. (R90II,p37+52). I render: 1861ca, CR68, Le Promenade du convalescent, etch ps, 28×20, Cleveland MA (iR19;M27,1945.274;R2,p162;R90II,p37+52).
2IE-1876-81-5, Tribunal
Perhaps Poulet-Malassis 123 (R2,p162), Berson affirms this suggestion (R90II,p37+52). Now: 1874-, CR123, Le Tribunal, etch ps, 21×30, BM London (iR105;M147;iR367;iR282;R2,p162;R90II,p37+52).
2IE-1876-81-6, Cours de Médicine
Eng. the medicine course.
Berson refers to the review of Punch, who reviewed ‘Cours d’anatomie… On an amphitheatre table are lined up human skulls that look like gorilla skulls. But it is not these skulls that the students look at; it is the teacher’s skull, who is bald as a knee.’ (R90I,p105).
Moffett doesn’t give a suggestion. Berson renders: 1877, MT122, Le cours de phrénologie, no.2, etch 2/2, 24×32, Boston Public Library (R90II,p37+52). I render: 1855-65, CR122, Le cours de phrénologie, no.2, etch, 24×32, BNF Paris (iR40,btv1b10545295q;iR105;R2,p162;R90II,p37+52). Berson also suggests MT121. I couldn’t find a picture of this etch, but maybe it is a better suggestion, because in the CR122 picture just a single student looks at the bald head of the teacher.
2IE-1876-81-7, Chantres Espagnols
Perhaps Poulet-Malassis 59 (R2,p162), Berson affirms this suggestion (R90II,p37+53). Now: 1865, CR59, The Spanish Singers, etch 6/7, 27×73, Cleveland MA (iR19;M27,1944.390;iR40;iR6;R2,p162;R90II,p37+53).
Probably the same work as: S1861-3793, Chantres espagnols, gravure.

2IE-1876-82, La morte (premier état avant la pointe sèche)
Eng.: The death (first state formerly dry point). So this surely is an etch. Perhaps Poulet-Malassis 89 (R2,p162), Berson affirms this suggestion (R90II,p38+53). Legros often depicted the theme of death. Rivière reviewed ‘A dead old peasant at the foot of a dry tree looks like a mystical Millet.’ (R90I,p71). I render an early state, but I don’t know which state it is: 1852-75, CR89, Death of a Vagabond, etch, 55×39, BM London (iR105;M147;iR19;M27;iR40;R2,p162;R90II,p38+53). To compare I also render the last state: 1875-76, CR89, Death of a Vagabond, etch 8/8, 55×39, Cleveland MA (iR19;M27,1944.394;iR6;R2,p162;R90II,p38+53).

2IE-1876-83
This catalogue number contains 5 works + 2 lithographes. Moffett assumes they all are prints R2,p162), so does Clayton (R2,p158,note 10) and Berson (R90II,p38).
2IE-1876-83-1, Les vagabonds
Eng. Vagabond; wanderer. Perhaps Poulet-Malassis 71 (R2,p162), Berson affirms this suggestion (R90II,p38+53), now: 1861, CR71, Les vagabonds de Montrouge (Mendiants aux environs de Paris), etch 1/1, 27×37, BNF Paris (iR40,btv1b10545547p;iR105;R2,p162;R90II,p38+53). Berson doesn’t refer to reviews. Legros often depicted beggars, so maybe there are more options.
2IE-1876-83-2, La confrérie de la Sainte-Vierge
Eng. the brotherhood / order of the holy Virgin. Moffett doesn’t give a suggestion. Berson renders two suggestions:
1860, MT50, Le Choeur d’une église espagnole, etch ps 2/2, 37×27, Boston Public Library;
and: 1877, MT53, La discipline au couvent, etch 2/2, 27×37, Boston Public Library (R90II,p38+53).
Berson doesn’t refer to reviews.
I follow and render as uncertain options:
1860, CR50, The choir of a Spanish church, etch, 37×27, BM London (iR105;M147;iR367;iR199;R90II,p38+53;R2,p162), compare: S1861-3793, Chantres espagnols, gravure
and: 1861, CR53, La discipline au couvent, etch, 37×27, BNF Paris (iR40,btv1b105456349;iR105;R90II,p38+53;R2,p162).
2IE-1876-83-3, près de la cheminée
Eng.: Close to the fireplace. Perhaps Poulet-Malassis 116 (R2,p162), Berson affirms this suggestion (R90II,p38+53). She doesn’t refer to reviews. So I render as an uncertain option: 1855-61, CR116, Le foyer, etch, 23×16, BNF Paris (iR40,btv1b10545678r;R90II,p38+53;R2,p161).
2IE-1876-83-4, Paysage (pointe sèche)
Eng.: Landscape (dry point). So this is for certain an etch. Moffett doesn’t give a suggestion. Legros has made several dry point landscapes. Berson suggests 1877-, MT103, La ferme au grand arbre, 33×26, Boston Public Library (R90II,p38+54;iR282). There were no reviews. I render: 1852-71, CR103, La ferme au grand arbre, ps, 32×26, BM London (iR105;M147;iR40;R90II,p38+54;R2,p162). It was probably also exhibited as: S1875-3734, Une eau-forte: La ferme au grand arbre (Appartient à M. P. Malassis). That makes it a good suggestion.
2IE-1876-83-5-1, Deux lithographies
2IE-1876-83-5-2, Deux lithographies
Moffett suggests one of the two is ‘Leçon d’électricité’, Poulet-Malassis 111, Berson affirms this suggestion (R90II,p38+54). Rivière reviewed ‘La leçon d’électricité (lithographie) has the cachet of a Rembrandt.’ (R90I,p71). I follow and render:
1855, CR111, L’expérience d’électricité, etch, 17×29, BNF Paris (iR40,btv1b10545574k;R90II,p38+54;R2,p162).
As second very uncertain option I render: 1877-, CR112, Un anatomiste dissèque une tête humaine, à la lueur d’une lanterne, no.1 of La pièce aux six sujets, litho, 28×24, xx (iR423;aR13=iR40); the theme is in line with 83-5-1 and other works exhibited.
2IE-1876-83-6, Portrait de M. Barbey d’Aurevilly
Punch reviewed ‘a portrait of M. Barbay d’Aurevilly, wearing a dressing gown with brandebourgs.’ (R90I,p105).
Laurent-Pichet extendedly reviewed this work:
Alphonse Legros has a skilled hand and a lively and original imagination. His portrait of M. Barbey d’Aurevilly is exactly as the model wanted to be represented. M. Barbey d’Aurevilly is a Renan in his own way, a Soury in his space; he is like a catholic, like others are like philosophers. In their eyes, their homeland is nothing but a prejudice or an absurdity.
Barbey d’Aurevilly wears a dressing gown with frog fastenings, like the uniform of general Marceau by Préault. (Sorry to Marceau and sorry to Préault!) He carries on his head Don Quixote of the seminar, that satisfaction of surprising passers-by, this joy belongs to Don César, who loved to make women laugh, this bliss of the dead strangers who disappear and who were pitifully buried with the god of these sad extravagants, with Baudelaire.
He then sums up several sorts of people and ends with: So let us be forgiving towards these ambitious madmen who have played with life, like one plays with fire.
Barbey d’Aurevilly is also portrayed in a sculpture by Zacharie Astruc at the official Salon. The bronze buste is strange and provocative grotesque. The head is furious and mean; tightly wrapped in a frock coat, sawed in half, buttoned up, arms cut off, mutilated, he shows at the bourgeois his extravagant head, his terrible eye, with a gold thread tie, he seems to listen to the voice of God.
Laurent Pichet calls it a old joke.
M. Barbey d’Aurevilly is not an institution. He is a Baudelaire, a street entertainer, … (iR437)

Moffett suggests Poulet-Malassis 10 (R2,p162), Berson affirms this suggestion (R90II,p38+54).
I render: 1877-, CR10, Portrait de M. J. Barbey d’Aurevilly, etch 2/2, 13×10, BM London (iR105;M147;iR40;R90II,p38+54;R2,p162).

2IE-1876-84, Lutrin
Eng.: choir desk; Nl.: koorlessenaar. Compare: S1863-1155, Le lutrin and: S1868-1525, Un lutrin (Appartient à M. Jonides).
If this was a print perhaps it was Poulet-Malassis 61 or 62 (R2,p162) Berson only affirms PM62, she doesn’t explain why and she doesn’t refer to reviews. I couldn’t find a picture of CR61. I render CR62, but also CR64:
1852-77, CR62, Le lutrin no.2, etch, 25×24, BNF Paris (iR40,btv1b10545416m;iR105;iR1;R90II,p38+54;R2,p162);
and: 1868, CR64, Reading the Office, etch ps 2/ 2, 31×25, Cleveland MA (iR6;M27;iR40;iR1;R2,p162;R90II,p38).
Compare also an oil painting:
1865, Le lutrin, 127×132, MPP Paris (iR6;iR10;iR1;R2,p162;R90II,p38;M4).

2IE-1876-85, Portrait de petite fille (pointe sèche)
Eng.: Portrait of a little girl (dry point). So this is an etch. Moffett doesn’t give a suggestion. Berson suggests: 1877, MT30, La petite Marie, ps, 3/3, 23×17, Boston Public Library (R90II,p38+54;iR282), she doesn’t refer to reviews. I render her suggestion: 1875, CR30, La petite Marie, ps, 23×17, BNF Paris (iR40,btv1b105455109;iR105;R2,p162;R90II,p38+54), also because it was exhibited as: S1875-3735, Une eau-forte: La petite Marie (Appartient à M. P. Malassis).

2IE-1876-86, Bonhomme misère
Eng.: the misery of a good man. If this was a print perhaps it was perhaps Poulet-Malassis 145 (R2,p162). Berson makes clear this is one of the four etchings that Legros made for the legend ‘Bonhomme misère’ which was published in Champfleury his novel, Histoire de l’imagerie populaire, Paris, 1869. Malassis and Thibaudeau render them under no.138, 139, 140 + 145. Beraldi doesn’t seem to confirm this for CR145, which is titled ‘Saint Pierre et Saint Paul à la porte du bonhomme Misère’ and which depicts a totaly different scene (R85IX). Berson herself renders no.140, she doesn’t refer to reviews. I will render CR138+139+140 as 3 options: 18xx, CR138, Le voleur de poires (1st plate), etch, 42×33, Boston PL (iR367;iR282;R2,p162;R90II,p38); and: 1869, CR139, Le voleur de poires no.2, etch, 23×15, BNF Paris (iR40,btv1b10545405r;R90II,p38;iR367;R2,p162); and: 1869, CR140, La mort dans le piorier, etch, 23×15, Cleveland MA (iR19;M27,1921.1416;iR40;iR367;R90II,p38+54;R2,p162).

2IE-1876-87, Portrait de l’historien Carlysle (premier état)
Poulet-Malassis 34 (R2,p162), Berson affirms this suggestion (R90II,p38+55). Now: 1875-77, CR34, Large Portrait of Thomas Carlyle, etch + aquatint, 44×34, Cleveland MA (iR6;iR40;M27;R90II,p38+55;R2,p162). Rivière reviewed that it ‘has the look of a Rembrandt’ (R90I,p71). I assume that this smaller etch is a better option: 1875, CR33, Petit portrait de Thomas Carlyle, etch + aquatinte 1st state, 31×25, BNF Paris (iR40,btv1b10545536t;iR19;M27;R90II,p38;R2,p162); this one was rendered by Malassis in his review on Legros and the Salon of 1875 (aR9=iR40).  There also is a colourful, almost impressionistic painting made a year later (see main page Legros).

2IE-1876-88
This catalogue number contains two works. Clayson must have overlooked this when writing Legros exhibited altogether 24 works (R2,p158).
2IE-1876-88-1, Tête de vieillard (pointe sèche)
Eng.: head of an old man (dry point). So this is an etch. Moffett doesn’t give a suggestion. Berson suggests 1877-, MT37, Étude de tête d’homme, ps, 3/3, 21×16, Boston Public Library (R90II,p38+55), based on the date, medium and subject. She doesn’t refer to reviews. Legros made many etchings of elder men, don’t know if they are also made of dry point.  I render CR37 as an uncertain option: 1875-77, CR37, Etude de tête d’homme, de profil, ps, 21×16, BNF Paris (iR40,btv1b10545545s;iR105;R90II,p38+55;R2,p162). And CR29 as an alternative: 1874, CR29, Breton Peasant, dry point, 34×24, Philadelphia MA + Cleveland MA (iR2;iR4;iR6;M28;M27;aR13,no29).
2IE-1876-88-2, Femmes de Boulogne
If a print perhaps Poulet-Malassis 80 (R2,p162), Berson follows: 1877-, MT80, Paysannes des environs de Boulogne, ps, 3/3, 23×15, FAM San Francisco (R90II,p39+55). She doesn’t refer to reviews. I render this version: 1873, CR80, Peasant Woman in the Neighbourhood of Boulogne, etch, 23×15, A2022/07/31 (iR17;iR19;M27;iR6;R90II,p39+55;R2,p162). I think CR82 also is a good option: 1877-, CR82, Fisherwomen at Boulogne (Femmes de pecheurs), etch, 68×53, NGA Washington (M23;iR10;M183;aR13=iR40). There are several places named Boulogne in France. Most probable options are: Boulogne-Billancourt, south-west of Paris or Boulogne-sur-Mer, south of Calais.

2IE-1876-89, Grand paysage, coup de vent
Eng.: large landscape, gust of wind. If a print perhaps Poulet-Malassis 110 (R2,p162), Berson affirms this suggestion (R90II,p39+55). She doesn’t refer to reviews. Legros several times depicted strong winds in his etchings. But Malassis renders CR110 in his comment on the Salon of 1875, probably referring to S1875-2482, Le coup de vent. So I assume that CR110 was also exhibited in 1876: 1875-77, CR110, Le coup de vent, etch, 57×47, BNF Paris (iR40,btv1b10545317p;iR105;R90II,p38+55;R2,p162;aR9,p14;iR1).

2IE-1876-90, L’homme au mouton
Eng.: Man with a sheep. Perhaps Poulet-Malassis 86 (R2,p162), Berson affirms this suggestion (R90II,p39+55). She doesn’t refer to reviews. So I render it as an uncertain option: 1855-77, CR86, Le mouton retrouvé, etch, 43×32, BNF Paris (iR40,btv1b10545399w;R90II,p39+55;R2,p162).

2IE-1876-91, La communion
Moffett suggests a painting: 1876ca, Communion, 36×31, from a private collection in Oxford (or London) (iR2;iR104;iR3;R2,p162+178;R90II,p39). I will render it to compare.
It is the only picture of Legros that Moffett gives (R2,p178). Also the only picture Walther renders (R3,p166). All other books on Impressionism don’t render a picture at all of Legros. Neither do Schurr & Cabanne (R9).
As second option Moffett mentions: ‘If a print perhaps Poulet-Malassis 54′ (R2,p162). Berson affirms this last suggestion and states that Legros only exhibited engravings (R90II,p39+55). She doesn’t refer to reviews.
Now: 1861, CR54, La communion dans l’église Saint-Médard, etch 1st state, 36×27, BNF Paris (iR40,btv1b10545639j;iR105;R90II,p39+55;R2,p126).
I also render an earlier painting of Legros, but more to compare: 1865, The Communion, 86×73, WMG London (iR2;iR10;iR368;R2,p162;R90II,p39).

2IE-1876-92, Paysage
Eng.: landscape. Moffett doesn’t give a suggestion. Berson suggests 1877-, MT108, Le paysage aux meules, ps 1/1, 20×25, FAM San Francisco (R90II,p39+55). I render a variation: 1870, CR108, Landscape with Strawstacks, etch ps, 20×27, Cleveland MA (iR19;M27,1945.277;iR6;iR40;R90II,p39+92;R2,p162). Berson doesn’t refer to reviews.
To compare I also render an oil painting depicting a landscape:
1876-77, Hilly Landscape, 76×50, VAM London (iR2;iR17;M65;R2,p162;R90II,p39).

 

Alphonse Legros at the Salon:
Alphonse Legros debuted at the Salon (=S) in 1857 and exhibited irregularly till 1882 at the Salon de la Société des Artistes Français (=SdAF). In 1863 he also exhibited at the Salon des Refusés (=SdR).
Note: There were other artists with the last name ‘Legros’ who exhibited at the Salon of 1843/44/45/46/47/48, and also of 92/93/94/95/98+1909. Among the sociétaires of the Salon d’Automne from 1905-07, there also was a Legros, probably not our Alphonse Legros.

S1857-1684, Portrait de M. L…
Legros made his debut at the Salon in 1857 (R3;R9). This portrait of his father was presented to the museum of Tours where his friend Cazin was curator (iR3;aR9,p12;R88). Champleury called him a ‘realist’ in the line of Courbet (iR3;aR9,p6). Another portrait was rejected and was exhibited (among others) as a protest in the studio of François Bonvin (iR3).

S1859-1894, L’Angelus, peinture
Now: 1859, L’Angelus, 66×81, A2016/09/14 (iR15;iR6;iR11;iR41;iR1).

S1861-1900, Ex Voto, peinture
Eng.: The shrine. Now in the MBA Dijon, made in 1861 (aR9,p12). Obtained a mention (iR3), which gave him a relative succes (R3). Now: 1860, The Shrine (ex-voto), 174×197, MBA Dijon (iR2;iR3;iR6;iR1;aR9,p12;R3;M205).

S1861-3793, Chantres espagnols, gravure
Probably the same work as: 2IE-1876-81-7, Chantres Espagnols

S1862, ???
Baudelaire commented favourably on two works of Legros (iR70). Note: according to the Salon database there was no Salon.

S1863-1155, Le lutrin
Eng.: The choir. Compare 2IE-1876-84 + S1868-1525

S1863-1156, Discussion scientifique (Appartenant au docteur Bicord)
Eng.:

SdR-1863-305, Portrait de E. M.
Probably: 1863, Portrait Édouard Manet, 62×50, MPP Paris (iR6;iR10;iR195;M4)

S1867- 926, La lapidation de Saint-Etienne
Eng.: The stoning of Saint-Etienne. Legros received a golden medal for genre painting (aR6;R259). In 1875 in the Musée d’Avranches (aR9,p6+12).

S1867- 927, Une scène d’inquisition
Note: it seems that Monneret interchanges this work and ‘une amende honorable’ exhibited in 1868 (R88I,p436).

S1868-1524, Une amende honorable
Eng.: . Legros received a medal for genre painting (aR6;R259); the work was bought by the state (R9). In 1875 part of the Musée du Luxembourg and made in 1868 (aR9,p6+12). Now: 1868ca, The Honourable Penitent, 190×175, Orsay (iR2;iR5;aR9,p8;iR1;M1).

S1868-1525, Un lutrin (Appartient à M. Jonides)
Eng.: The same title as S1863-1155 and 1876-84.

S1869-1460, Un réfectoire (Appartient à M. Howell)
Eng : diningroom. I assume Legros exhibited a painting. To compare I render: 1862ca, CR55, The Refectory, etch, 34×45, Cleveland MA (iR19;M27,1944.388;iR2;iR40;iR1)

S1870-5258, Trois gravures à l’eau-forte ; même numéro
Eng.:

S1875-1311, Un chaudronnier (Appartient à M. A. Jonides)
Jonides or Ionides patronized several artists including Legros (iR70). Now: 1874, The Tinker, 115×132, VAM London (iR2;aR9,p8;iR127;iR1;M65). Described by Malassis (aR9,p8).

S1875-1312, Les demoiselles du mois de Marie (Appartient à M. J. L. Miéville) (Voir Dessins et Gravures)
Maybe: 1868, A May Service for Young Women, 107×147, VAM London (iR2;iR6;aR9,p8;iR1;M65).

S1875-2481, L’incendie (Appartient à M. Malassis) Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences
Note: there is an A.P. Malassis who made a catalogue of Legros’ work in 1875 (aR9), he mentions this was  a drawing and describes it as ‘From the furnace of a fire, a man wrapped in a blanket, blinded by smoke, brings his child to the distraught mother in front of an empty crib.'(p12). To compare I render an etch that corresponds Malassis his description: 1876, CR144, L’incendie, no.2, etch 9th state, 24×28, BNF Paris (iR40,btv1b10545526d;iR17;iR1;aR9,p12)

S1875-2482, Le coup de vent (Appartient à M. Malassis) Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences
Malassis first mentions an etch sized 54×46 and describes it as ‘From the hundred-year-old beeches to the heather the moorland that flees to the horizon, everything twitches, noises and torments in this autumn landscape, swept by the wind that rips the leaves from the trees and lays down the showers in the sky.’ Later he mentions that the work exhibited was a drawing after this etch, wherein Legros used a wash technique (aR9,p11). Compare: 1875-77, CR110, Le coup de vent, etch, 57×47, BNF Paris (iR40,btv1b10545317p;iR105;R90II,p38+55;R2,p162;aR9,p14;iR1). Compare: 2IE-1876-89, Grand paysage, coup de vent.

S1875-2483, Femmes de pêcheurs (Appartient à M. Malassis) (Voir Peinture et Gravure) ; Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences
Eng.: Malassis mentions this was a drawing and describes it as ‘Four fishermen’s wives, at the edge of the sea shroud of their loves, are lost in their own lives  and are overwhelmed by their pain or lament’. (aR9,p11/12).

S1875-3734, Une eau-forte: La ferme au grand arbre (Appartient à M. P. Malassis)
Malassis adds it depicts an evening effect (aR9,p11). Probably: 1852-71, CR103, La ferme au grand arbre, ps, 32×26, BM London (iR105;M147;iR40;R90II,p38+54;R2,p162;aR9,p11) =? 2IE-1876-83-4, Paysage (pointe sèche).

S1875-3735, Une eau-forte: La petite Marie (Appartient à M. P. Malassis) (Voir Peinture et Dessins)
=? 1875, CR30, La petite Marie, ps, 23×17, BNF Paris (iR40,btv1b105455109;iR105;R2,p162;R90II,p38+54;aR9,p13) =!? 2IE-1876-85, Portrait de petite fille (pointe sèche).

SdAF-1880- 2243, Le songe de Jacob;
Additional info: H. 2m,05.- L. 2m,30. ([salle] 12.). Les non exempts dans les salles 12, 13, 15, 17, 19, 23, 26, 27, 28, 29 et à la galerie. Slade School of Art, University College, Londres. Legros exhibited hors concours.
Eng.: The dream of Jacob.

SdAF-1882-4970, Neuf médailles; bronze
I render 9 uncertain options. The ones dated are more sure. 1. 1882, W.E. Gladstone, bronze medal, xx, Axx (iR11;iR1); 2. 1881-82, Don Juan Heredia, bronze medallion, d10, A2021/11/19 (iR17;iR1); 3. 1881, Pierre Gregoire, bronze medallion, d11, A2019/02/27 (iR17;iR1); 4. 1881, Orlando Martorelli, bronze medallion, d12, A2019/02/27 (iR17;iR1); 5. 1881, Maria Valvona, medallion, d10, BM London (iR105;M147;iR195;M4;iR1); 6. 1881, Charles Darwin, alloy medal, d12, BM London (iR105;M147;iR11;iR1); 7. 18xx, Lord Alfred Tennyson, bronze medallion, d9, A2019/02/27 (iR17;iR1); 8. 18xx, Cardinal Manning, sc, xx, xx (iR6;iR1); 9. 18xx, Antonio Escovedo, bronze medallion, d9, A2019/02/27 (iR17;iR1).

SdAF-1882- 5421, Quatre eaux-fortes. Portraits
I render 4 uncertain options. The ones dated 1881 or 1882 are more sure: 1. 1881, CR237, Auguste Rodin, etch, 39×23, Cleveland MA (iR19;M27,2014.299;iR6;iR1); 2. 1881, CR238, Sir Frances Seymour Haden, etch mezzotint, 25×18, Cleveland MA (iR19;M27,1944.401;iR40;R85IX,no238;iR1); 3. 1879, CR198, G. F. Watts, etch, 31×24, Cleveland MA (iR6;iR2;iR40;R85IX,no198;iR1;M27); 4. 1878, CR188, Auguste Poulet-Malassis, etch, xx, Cleveland MA (iR19;M27,1944.511;iR40;R85IX,no188;iR1).

 

Alphonse Legros at the Exposition Universelle:
Works of Legros were posthumously shown at the Centennial exhibition of the Exposition Universelle in 1889 and 1900 (R231-1+5):

EU-1889-C-VII-331, Prêtre à l’autel, eau-forte originale (app. à. M. H. Beraldi)
Eng.: Priest at the altar.
EU-1889-C-VII-332, Les Bûcherons, eau-forte originale (app. à M. Rodin)
Maybe: 1870-77, CR95, Les bûcherons, ps, 42×67, BNF Paris (iR40,btv1b10545314b;R85IX,no95;iR1).

EU-1900-C-416, Femme dans un paysage (Musée d’Alençon)
Tp compare I render an etch after the original painting and 2 other paintings.
EU-1900-C-417, L’Ex-voto (Musée de Dijon; S.1861)
=S1861-1900, Ex-voto
=1860, The Shrine (ex-voto), 174×197, MBA Dijon (iR2;iR3;iR6;iR1;aR9,p12;R3;M205)
EU-1900-C-II-1132, Le martyre de Saint-Sébastieu; dessin au crayon noir rehaussée de gouache (Musée de Lille)
=!? 18xx, Le Martyre de Saint Sébastien, dr, 66×52, PBA Lille (iR127;M17)
EU-1900-C-II-1133, L’incendie; dessin à la plume et à la sépia (Musée de Dijon)
=? S1875-2481, L’incendie (drawing?)
Legros several times depicted the theme of fire, mostly in etchings.
To compare I render: 1876, CR144, L’incendie (the fire), no.2, etch 9th state, 24×28, BNF Paris (iR40,btv1b10545526d;iR17;iR1;aR9,p12;R231-1)
EU-1900-C-II-1134, Le manège; dessin à la plume et à la sépia (Musée de Dijon)
To compare I render an etch with the same title:
EU-1900-C-II-1135, Rocher avec un calvaire; aquarelle (à M. Beurdeley)
Eng.: Rock with a cross.
To compare I render a compilation of a drawing and oil painting with an calvary (on a rock).

 

Alphonse Legros at Centennial exhibitions:
Legros exhibited 2 drawings at the centennial exhibition in Saint-Petersbourg in 1912.

Saint-Petersbourg-1912-377. Orage (Thunderstorm], drawing
Saint-Petersbourg-1912-378. Le bord de l᾿étang (Bank of a Pond], drawing  [Beurdeley in Paris]

 

Posthumous sale of Brandon 1897/12/13+14 at Hôtel Drouot (aR3):
1897/12/13+14 there was a posthumous sale of the collection of Brandon in Hôtel Drouot, in which several works of Legros.

HD18971213-96, Portrait d’une petite Fille tenant une poupée. (Dessin à la mine de plomb);
Sold for 95fr. Eng.: Portrait of a little Girl holding a doll. (Drawing with lead pencil.

HD18971213-132bis-1, Procession dans une église espagnole (avant lettre).

HD18971213-132bis-2, Portrait de jeune Homme (avant lettre].

HD18971213-132bis-3, Portrait de la petite Marie (deux épreuves, dont une avant lettre, sur Japon).

HD18971213-132bis-4, Tête d’Homme vue de profil (avant lettre).

HD18971213-132bis-5, Tête d’Homme coiffé d’un chapeau (avant lettre).

HD18971213-132bis-6, Thomas Carlyle (Lithographie)

 

 

Recommanded citation: “Impressionism: Alphonse Legros, account of his exhibited art-works. Last modified 2026/03/27.  https://www.impressionism.nl/legros-account/”

 

Note: additional info will be added.