Meyer, account

 

 

Impressionism, a historical reconstruction:

Alfred (-Bernard) Meyer

(1832-1904)

Account

of his exhibited works

 

Introduction:
On this page you will find an account of the works that Alfred Meyer exhibited at the 1st ‘impressionist’ exposition in 1874 (=1IE-1874) and at the Salon (=S), the successor of the Salon, the Société des Artistes Français (=SdAF) and the independant alternative the Société National des Beaux-Arts (=SNBA) and also at regional exhibitions. For the used sources see at the bottom of the main page about Alfred Meyer. See link for the pictures.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 87-91bis
  • so Alfred Meyer exhibited 6 works, 5 enamels and 1 drawing.
    • 0x indication of place
    • 0x indication of time, season or weather
    • 0x a study
    • 0x loans (appartient à…); .
  • Moffett doesn’t give one suggestion (R2,p121), nor does Dayez / Adhémar (R87,p241). Note: Berson omits Meyer, which would mean that there were no reviews (R90II,p9). But Adhémar refers to a review of Burty (1874/04/25) who writes ’the superb enamels of M. Alfred Meyer’ (R87,p262), a review that is not reproduced by Berson (R90I,p9).
  • See (composed) pictures to compare.

1874 catalogue: (R2,p121; iR1)

1IE-1874-87, Étienne Marcel prévôt des marchands, émail
Eng.: Étienne Marcel  provost of merchants, enamel (a provost is someone to keep the order). He also was a French politician in the 14th century (iR3). Note: an enamel work titled ‘Étienne Marcel’ was also exhibited at the Salon of 1872, no. 1102.
To compare I render an etch by an unknown artist: Etienne Marcel, leading-merchant, xx, Mary Evans picture library (iR10;iR114). To compare I also render another enamel of Alfred Meyer: 18??, Profile of a Warrior in Helmet (after Da Vinci), enamel, 21×14, A2021/09/09 (iR17).

1IE-1874-88, Dona Maria Pacheco, épouse de Don Juan de Padilla, chef de l’insurrection, qui avait pris le nom de Sainte Ligue des communes sous Charles-Quint, email,
Eng.: Dona Maria Pacheco, wife of Don Juan de Padilla, leader of the revolt, who had taken the name of Holy League of Communes under Charles V. Note: an enamel work with the title ‘Doña Maria Pacheco, épouse de don Juan de Padilla, chef de l’insurrection de la Sainte-Ligue‘ was exhibited at the Salon of 1872, no. 1103. Maria Pacheco (1496ca-1531) lived in Spain and died in Portugal (iR3).
To compare I render a painting by another artist depicting Maria Pacheco: Rodrigo de Vaillandrando: 1xxx, Maria Pacheco y Aragon (iR10;iR64). To compare I also render another enamel of Alfred Meyer: 1867-70ca, Portrait of Maria de Medici, enamel miniature, 10×8, A2010/12/10 (iR10;iR14;iR64).

1IE-1874-89, Le Firmament, d’après Emile Lévy, émail
Eng.: the firmament, after Emile Lévy, enamel. Alfred Meyer exhibited a work with the same title at the Salon of 1870 (no.3871-1). Meyer was a pupil of Lévy (1826-90; see info; see pictures). Meyer made several enamels of works of Lévy, see: S1864-2354; S1865-2659; 1868-3126; xx.
To compare I render a ceiling painting by Emile Lévy (1826-90): 1860, Les astres (et les éléments) (project for a ceiling), oil on plaster, 250x330cm, Louvre (iR6; iR357 =M5). When I look at the works of Emile Lévy in the Louvre (iR357) and on Google images (iR10), this works comes most close of depicting the firmament.
To compare I render another enamel of Alfred Meyer: 18xx, Pocketwatch, with enamel painting, after Johanes Van Ceule (1690ca), d49, A2023/11/11 (iR17). The image resembles in some ways Les astres of Emile Lévy.
To compare I also render another grisaille enamel of Alfred Meyer: 1870ca, British neo-classic enameled brooch, with an enamel plaque in grisaille technique, ?cm (iR10). This work has many similarities with one of the elements that Emile Lévy depicted: 18??, Allegorie de la Terre, dr, 31×7, DAG Louvre (iR357 =M5a). Note: in this same ceiling project Emile Lévy also depicted the four elements, including the earth (see iR357=M5).
I also render other works to compare, but they seem less appropriate: a gouache of Emile Lévy (1826-90) that maybe depicted the firmament: 18??, Diana and Apollo (Allegory of Day and Night) (project for a ceiling), gouache, d19cm, A2019/11/27 (iR11; iR13; iR10).
To compare I render another enamel of Alfred Meyer, also after Emile Lévy: 1860ca, Apollo with Lyre, after Emile Lévy, broche enamel painting , xx, A2016/06/02 (iR81).
Note: Raphaël had made a ‘firmament’, a mosaic panel in the dome of the Chigi Chapel representing Greek gods.

1IE-1874-90, Figure d’après Raphaël, émail
1IE-1874-91, Figure d’après Raphaël, émail
Eng.: Figures after Raphaël. Raphaël (1483-1520) was a famous Italian painter (see info). At the Salon of 1869 Meyer exhibited ‘figures d’après Raphaël’ (no.2966), containing two enamels.  I assume these were the same as he exhibited separately under two numbers in 1874. Meyer more often made enamels of Raphaëls works: see S1864-2353; xx. He also made a portrait of Raphaël S1870-3816.
=!? 1868ca, L’Histoire de Psychè 1+2 (after Raphaël), ebony wood case with enamel + gold, xx, MNd Sèvres (R87,p241;aR10;iR1;R2,p121).
Compare etchings of these same images:
Artnet renders an etch (20x24cm) of one these figures: The Story of Psyche (suite of 32 after Raphaël), made by an Italian artist called Bernardo Daddi, who was active around 1280-1348, which is earlier than that Raphaël did live (iR13). Alamy describes it as ‘Plate 6: Zephyr carrying Psyche in an enchanted palace, from “The story of Cupid and Psyche told by Apuleius” (iR48). Gazette de Drouot also renders this picture, auctioned 2009/04/08 (iR86).
Ebay renders an etch of Raphaël (Antonio Salamanca), 16° Histoire de Psyché, etch plate no.26 Apulée, xx, A2024/04/05  (iR42; iR10). Alamy describes it as ‘Psyche enters the underworld. Plate 26 from the story of Cupid and Psyche, 1530-1560, by Master of Death, Michiel Coxie’ (iR48).
There are also some enamels made after this Legend of Cupid and Psyche:
Alamy render many pictures of the Legend of Cupid and Psyche (iR48), including two painted enamels (9x12cm) made by (probably) Pierre Courteys (Limoges, 1520-1586ca): 1560ca., The Legend of Cupid and Psyche; 1. An old woman tells the story of Psyche; and 2. Psyche and her helpers (iR48).
Wikimedia renders an engraving on enamel plate (grisaille) made by Martin Didier Pape: 1580ca,  The old woman telling the story of Psyche, grisaille enamel on copper, 16×30, MBA Lyon (iR6).
Leonard Limousin: 1562ca, The wedding feast of Cupid and Psyche, dish, grisaille enamel on copper, d43cm, NGA Washington (M21).

Note: I couldn’t find these figures in the database of the Musée du Louvre (iR357=M5), nor at Wikimedia (iR6) on Raphaël.

1IE-1874-91bis, Idylle, dessin
Meyer exhibited (partly simultaneously) an enamel with the same title at the Salon of 1874 (no.2372)↓.
To compare I render another drawing of Alfred Meyer: 1874, La Cigale et la fourmi (the cicade and the ant), dr + wc, 21×15, A2014/03/26 (iR11;iR41;iR1).

 

 

Alfred Meyer at the Salon:
There also was an Guillaume Meyer, Raoul-Adolphe Meyer, Jean-George Meyer, Auguste Meyer, (Jean-Henri-)Louis Meyer, Isidore Meyer, Emmanuel Meyer, Lazar Meyer, Émile Meyer, Eugène Meyer, Léon Meyer, George Meyer exhibiting at the Salon and it’s successor of the Société des Artistes Français (iR1). In 1892 a Henri Meyer contributed as illustrator to Le journal illustré (iR23).

S1864-2353, Tête du Dante, d’après Raphaël ; émail

S1864-2354, Portrait de M. Louis Robert, chef des peintres de la Manufacture impériale de Sèvres, d’après E. Levy ; émail.
Note 1: Meyer worked for this porcelain factory from 1858-71 (aR2;iR69;iR4;R3) or 1856-60 (iR40).
Note 2: Lévy was his teacher, see 1IE-1874-89.

S1865-2659, *Diane; d’après M. E. Levy; émail.
Bought by the state after the Salon. Now in the musée d’Orsay (M1): 1865, SDbl, Diane, email, 68×44, Orsay (M1;iR10;iR1).

S1865-2660, Apollon conduisant le char du soleil; émail
Additional info: (Appartient à M. le comte Aguado)

S1866-2412, Jules César; émail
In 1866 Alfred Meyer received a medal (iR1;iR69). Probably the same as: Lille-1866
-1081 — Jules-César; émail.
In the MAD Paris is a cabinet made around 1865 in which Meyer made an enamel portrait of Julius César.

S1866-2413, Renée de France, duchesse de Ferrare, émail
Probably the same as: Lille-1866-1082 — Renée de France, duchesse de Ferrare; émail.
Maybe: publication 1895, plate 4.

In a review on the Salon of 1866 (p23) Edmond About (1828-1885) called Alfred Meyer a promising young man. His small portrait of Duchesse de Ferrare is praised for it’s brilliant colours and for the finesse of it’s head. The portrait of Jules César is criticised for it’s grimace and deformation. (iR40,bpt6k58190497).

S1867- 1945, Le Condottiere, d’après Antonello de Messine; émail
Probably Meyer showed the same work in 1875 (no.2560). Maybe: 1867, Portrait d’homme (after A de Messine), email paint, 46×40, MAD Paris (aR5;iR1)
Note: After receiving a medal in 1866 his next partaking in the Salon were ‘exempt’ (iR1), which means xx. The last time he exhibited ‘exempté’ was in 1875.

S1868-3125, La belle Laure; émail

S1868-3126, Deux figures décoratives pour un coffret, d’après M. E. Lévy; émail
Eng.: Two decorative figures for a box.

S1869-2966, *Deux émaux; même numéro: Figures d’après Raphaël
=!? 1868ca, L’Histoire de Psychè 1+2 (after Raphaël), ebony wood case with enamel + gold, xx, MNd Sèvres (R87,p241;aR10;iR1;R2,p121). The same title as 1IE-1874-90+91.

S1870-3816, *Portrait de Raphaël ; émail

S1870-3817, Huit émaux; même numéro:
S1870-3817-1, *Le Firmament, d’après M. E. Lévy;
The same title as 1IE-1874-89.
Portraits de MM. V. Regnault, Duron, Waddington, A. Halphen et de Mme Mayer-Lévy;
médaillons de Biacca Capello et de Maximilien; émail, médaillon

In ‘Le journal Le Vélocipède illustré’ there was an article of B. de Mezin called ‘Promenades en long et en large au Salon de 1870’. He admires an enamel portrait of Raphaël made by Alfred Meyer and calls it a masterpiece. His 8 small marvelous enamels makes you forget the old Limoges. He mentions that ‘Alfred Meyer de Sèvres’ does all the baking himself. (iR40,bd6t5387275c).

S1872-1102, *Etienne Marcel; émail
Partly the same title as 1IE-1874-87.

S1872-1103, *Doña Maria Pacheco, épouse de don Juan de Padilla, chef de l’insurrection de la Sainte-Ligue; émail
Partly the same title as 1IE-1874-88.

S1874-2372, *Idylle; émail
Meyer exhibited a drawing with the same title (partly simultaneously) with the ‘impressionist’, see 1IE-1874-91bis.
In his ‘Le Salon de 1874’ Nestor Paturot (page 267) calls ‘Idylle’ of Alfred Meyer graceful and fresh. He calls Meyer an artist of good strain, who paints on enamel with an unspeakable charm (iR40,bpt6k466000p).

S1875-2560, Le Condottiere, d’après Antonello de Messine; émail
Belonged to M.L. du Paty. Meyer probably already showed this work in 1867 (no.1945). Maybe: 1867, Portrait d’homme (after A de Messine), email paint, 46×40, MAD Paris (aR5;iR1). Antonella da Messina (1430-79) was an Italian painter.
Mario Proth calls it an ‘admirable interprétation’ (iR40,bpt6k220516).

S1875-2562, Voyage à Cythère, d’après Watteau; aquarelle .
Note: this is one of the few watercolours Meyer exhibited. Watteau (1684-1721) was a French painter (see info).

S1876-2751, *La cigale,
Compare a drawing: 1874, La Cigale et la fourmi (the cicade and the ant), dr + wc, 21×15, A2014/03/26 (iR11;iR41;iR1).
Sainte Famille,
le Faune à la chèvre,
Léda,
Petits sujets divers; émaux.
At page 252 in the 1876/08/01 edition of in the Bulletin de l’Union centrale Alfred Meyer is praised for his large work ‘La Cigale et la Fourmi’ as a good example of the final unity of the qualities of the painter and the enamelist. His serie of small monochrome figures is praised for its clarity and delicasy. Probably it refered to the enamels he exhibited at the Salon of 1876.

S1877-3151, Chef d’une tribu indienne; émail
Additional info: (Appartient à M. Reboul)

S1877-3152, *Jeanne Hachette; émail

S1878-3479,  Eve; émail

S1878-3480, Constance de Bangone; Apollon; Bacchus; émaux

In Le Phare (1879, page 35) Ant.-Léon Plée, in an article on the Salon (of 1878), mentions some works, that stand out for their brilliance. He includes ‘une Ève’, ‘un Apollon’ and the portrait of Constance de Raugone, the heroine who fought against the troupes of Charles Quint. Seen on the back, Constance showing only her energetic profile and her blond braids falling over her garnet velvet dress with white stripes. (iR40,bpt6k1157911v)

 

Alfred Meyer at the Salon de la Société des Artistes Français (=SdAF):

SdAF-1880-5393, François Miron et Pierre Ramus; panneau décoratif, émail.
In the 1880/06/13 edition of ‘La Justice’ it is written that the State did acquire ‘François Miron et Pierre Ramus; panneau décoratif, émail’ of Alfred Meyer (iR40,bpt6k7693958). So it is in ‘Le Peuple français’ of 1880/06/14 (iR40,bpt6k40686749).

SdAF-1881-3147, Portrait de Pic de la Mirandole; émail ;
Additional info: Appartient à M. Labiche

SdAF-1881-3148, Guerrier; émail ;
Additional info: Appartient à M. Tiffany

SdAF-1882-3610, Tête de négresse; émail ;
Additional info: Appartient à M. Boucheron. Note Henri Vever in his 2nd volume on jewelry (1908, p320) renders an image of a broche called ‘Tête de Négresse, Camée dit “habillé” (Eng.: head of a negro woman, cameo called dressed). The author isn’t indicated.
In the 1882/83 edition of the Revue des arts décoratifs (iR40) on page 328 in a review on the Salon des Arts Décoratifs, Alfred Meyer his ‘Tête de negresse’ is described: ‘There’s nothing quite as dazzling and gentle as this brown head, with its lippled lips and black hair barely covered by a hairstyle of red, yellow and green, they collide, making the straw glow in a warm, powerful harmony that delights the eye. This is a pure masterpiece. (iR40,bpt6k5718780w). This more or less affirms the Vever picture.

SdAF-1883-3048, Thoutmosis III (Moeris); émail

SdAF-1884-3025, Duguesclin; émail.
In L’Entr’acte of 1884/06/10 Félix Jahyer shortly mentioned the enamels of Alfred Meyer (iR40,bpt6k6792183m).

SdAF-1885-3027, Deux émaux : /
SdAF-1885-3027-1, Portrait de Mme L. L… /
Additional info: Appartient à M. L L… /

SdAF-1885-3027-2 André Vésale ;
Additional info: Propriétaire L…, L.

SdAF-1886-3139, Trois émaux : /
SdAF-1886-3139-1. Portrait de Ch. Darwin /

SdAF-1886-3139-2. Portrait de M. Aubé /

SdAF-1886-3139-3. Portrait de M. Sandoz ;
Additional info: (Appartient à M. Blot-Lequesne)

SdAF-1888-3383, Deux émaux : /
1. Diane (Appartient à M. Doniol) /
2. Portrait de M. A. de la Forge, vice-président de la Chambre des députés

In a review in La Nation (1888/06/05) Diane is called ‘of an altogether superior art’ (iR40)

SdAF-1891-2079, Portrait de Mme J. W…; émail.
See publication 1895 (art of enamel), plate 5.

SdAF-1891-2080, Deux émaux :
1. Eté, figure décorative
2. Projet pour un thermomètre
(Appartiennent à Mlle Taylor)

 

Alfred Meyer at the Salon de la Société National des Beaux-Arts (=SNBA):
Alfred(-Bernard) Meyer exhibited at the Salon de la Société nationale des Beaux-Arts from 1892-1901. He mostly exhibited art-objects, mostly made from enamel. From 1893-96 Meyer was called Associé and from 1897-1901 Sociétaire. (iR1).

SNBA-1892-81, Emaux : (Appartenant au vice-amiral Miot)

  1. Eve.
  2. Thermomètre.
  3. Gutenberg.
  4. Carte de visite.

The name of Alfred Meyer is mentioned several times in the Revue des arts décoratifs (iR40). On page 10 of the 1892/1893 edition a thermometer is decribed of Meyer as ‘enamelled nudes decorating the thermometer’. It was owned by Le vice-admiral Miot, who owned several precious works of Meyer. This thermometer is rendered on page 4 (see page 411).

SNBA-1892-82, Emaux:

  1. Saint-Jean de la Croix
  2. Ad perpetuam rei memoriam
  3. Portrait de Léon Battista Alberti  (App. à M. Blot-Lequesne)
  4. Portrait de jeune fille  (App. à M. Jacquemin)

SNBA-1893-349, Danton; 5 avril 1794 ; Objets d’art

SNBA-1893-350, Horloge garnie d’émaux; horloge, émail; Appartient à M. Meyer de Saint-Leu

SNBA-1893-351, Baigneuse; Objets d’art

SNBA-1893-352, Façade d’une pendule en projet; projet de pendule

SNBA-1893-353, Portrait du vice-amiral Miot (émaux, genre Limoges)
See publication 1895 (art of enamel), plate 1.

SNBA-1894-462, Une vitrine (Objets d’art):

  1. Les sorcières
  2. Une coupe (l’Harmonie dans la nature)
  3. L’apparition.
    “Quand l’haleine des nuits au fond des oasis, / Caresse en bruissant les ruines antiques, / La June croit entendre, au milieu des cantiques, / Frémir l’écho lointain et la harpe d’Isis” (L. de Joncière)
  4. Portrait

In the 1894/95 edition of the Revue des arts décoratifs (iR40) on page 9 in a review on the Salon (de la Société National des Beaux-Arts) of 1894, Alfred Meyer his contribution is described as ‘Various pieces worthy of its past, and in particular, a graceful and brilliant hexagonal bowl, divided internally into small panels with subjects and covered, outside, with the most beautiful foliage, all gleaming with reflections of metal.’ (iR40,bpt6k5567117n).

SNBA-1895-310, Une horloge en émail (sculpture sur bois de M. Sauvage); Objets d’art; loan by Blot-Lequesne, Maître.
See publication 1895 (art of enamel), plate 3.

SNBA-1895- 311, Lucile, 1794 ; Objets d’art

SNBA-1896-330, Les quatre éléments (panneau décoratif)
Compare: In art of enamel 1895, plate 6: L’eau, emaille + grisaille, xx (aR12,pl6); and: In art of enamel 1895, plate 7: Le feu, emaille + grisaille, xx (aR12,pl7).
Compare: 1870ca, British neo-classic enameled brooch, with an enamel plaque in grisaille technique, xx, xx (iR10). Compare: Emile Lévy: 18??, Allegorie de la Terre, dr, 31×7, DAG Louvre (iR357=M5a)

SNBA-1896-331, La prudence précède la sagesse, Objets d’art.

SNBA-1896-332, Mme J. Worms, Objets d’art

SNBA-1896-333, M. Delarue, architecte, Objets d’art
In the edition of 1896 of the Revue des arts décoratifs (iR40) on page 230 in a review on the Salon (de la Société National des Beaux-Arts) of 1896 two portraits of Alfred Meyer are mentioned, that of Charles Darwin (no.334) and of Charles Delarue (no.333), the architecte of the Saint-Cloud church. They are described as ‘drawn in gold in the margins of the effigy / image’.

SNBA-1896-334, Charles Darwin, Objets d’art
In the edition of 1896 of the Revue des arts décoratifs (iR40) on page 230 in a review on the Salon (de la Société National des Beaux-Arts) of 1896 two portraits of Alfred Meyer are mentioned, that of Charles Darwin (no.334) and of Charles Delarue (no.333), the architecte of the Saint-Cloud church. They are described as ‘drawn in gold in the margins of the effigy / image’.

SNBA-1896-335, Marguerite de Foix, duchesse d’Epernon, XVIe siècle, Objets d’art

SNBA-1896-336, Coucher de soleil, Objets d’art

SNBA-1897-311, Vitrine (émaux genre Limoges) :

  1. Le songe (sujet décoratif) (Appartient au vice-amiral Miot)
  2. L’areuse (sujet décoratif) (Appartient au vice-amiral Miot)
  3. La ciselure (sujet décoratif) (Appartient] au vice-amiral Miot)
  4. Cléopâtre (Appartient à Mme Du Château )
  5. Cadran d’une horloge suisse (Appartient à M. Paul Ditisheim)
  6. Portrait (Appartient à M. Jehan Rictus)
  7. Reliure de “l’Art de l’émail” de Limoges

In the 1897 edition of the Revue des arts décoratifs (iR40) on page 344 in a review on the Salon (de la Société National des Beaux-Arts) of 1897 Alfred Meyer is mentioned as the author of an attractive binding for a book on Limousin enamel. His enamel art-works are described as ‘a nude woman painting, and a Swiss Renaissance-style clock face, where the hour passes like Fortune, carried on her wheel, crushing some and surprising others, nobles and kings alike.’ (iR40,bpt6k57228330).
In an article (1898/01) in Art et Décoration on ‘les arts du feu’ Émile Molinier, referring to the Salon (de la Société National des Beaux-Arts) of (probably) 1897, called the clock face (cadran horloge) exhibited by Meyer less modern (iR40,bpt6k54014902).

SNBA-1898-379, Daniel-Jean Richard, apprenti serrurier, auteur de la première montre dans le canton de Neuchatel, en 1679 (cadran-horloge)

SNBA-1898-380, Anne de Bretagne, sujet allégorique de la réunion de la Bretagne à la France; Objets d’art

SNBA-1898-381, Jeunesse, Printemps, thermomètre-horloge (sculpture sur bois de Sauvage)

SNBA-1898-382, Coffret à bijoux
(“Nos pères nous ont appris à recevoir des otages, mais non à en donner, Rome devrait le savoir !”  Diviko, Histoire suisse.)

SNBA-1898-383, Les derniers moments de Chlodobert (d’après Albert Maignan) ; Objets d’art

SNBA-1899-305, Une vitrine, contenant:

  1. Les quatre saisons (émaux, genre Limoges); Encadrement en cuir artistique de M. Saint-André de Lignereux ; (Appartient à M. Art. Maillet).
    Compare: SNBA-1896-330, Les quatre éléments (panneau décoratif)
  2. La vérité sur l’art décoratif moderne; (Encadrement de M. Saint-André de Lignereux)
    Maybe: 1898-99, La Vérité sur l’art décoratif moderne, enamel on wooden box, 18×11, A2023/03/21 (iR11;iR241;iR10;iR1)
  3. Le revenant, émail (les soliloques du pauvre de Jehan Rictus); (Appartient à Mme Falize)
  4. Flacon émail
  5. Costume suisse du XVIe siècle (tête d’étude), émail

SNBA-1901-290, Coffret à bijoux (l’âge d’airain, l’âge d’argent, l’âge d’or) (souvenir de la festa della Maria à Venise)

SNBA-1901-291, Bianca Capello ; Objets d’art

SNBA-1901-292, Andromède ; Objets d’art

SNBA-1901-293, Fertilis ; Objets d’art

SNBA-1901-294, Dans les bois ; Objets d’art

SNBA-1901-295, Charité chrétienne ; Objets d’art

SNBA-1901-296, André Vesale ; Objets d’art

 

Regional exhibitions:
Alfred Meyer exhibited at regional exhibitions (iR1;R248).
Alfred Meyer lived in Paris in 1862 (iR1).

Toulouse-1862-2, Portrait de Me L*** (emaux)

Lille-1866-1081 — Jules-César; émail.
(Figures décoratives, d’après les dessins de M. E. Lévy).
Probably the same as: S1866-2412, Jules César; émail.
Lille-1866-1082 — Renée de France, duchesse de Ferrare; émail.
Probably the same as: S1866-2413, Renée de France, duchesse de Ferrare, émail.

 

 

Recommanded citation: “Impressionism: Alfred Meyer, an account of his exhibited works. Last modified 2024/04/05.  https://www.impressionism.nl/meyer-account/.”