Impressionism, the partakers of the expositions:

Mme de Rambures

alias Jacques François
=Comtesse de Rambure
=Marquise de Rambures
born as: (Louise Amour) Marie de Bouillé (1844-1924)

Account

 

Introduction: 
Mme de Rambures most probably exhibited under the pseudonym Jacques François at the Salon of 1873 and at the ‘impressionist’ expositions in 1876 + 1877. Probably she did so again in 1886 under the name Comtesse de Rambure*. On this page you will find an account of the works she exhibited.
Note*: without an ‘s’.

 

Jacques François at the Salon:
Mme de Rambures using the pseudonym Jacques François exhibited only at the Salon of 1873 (iR1).

Reviews:
Charles Garnier reviewed in Le Moniteur Universel of 1873/06/21 on page 1: “Une très-bonne toile de M. Jacques François: les Pêches, qui montre de réelles qualités de coloration” (iR40) (Translation: A very fine painting by Jacques François: Les Pêches (The Peaches), which displays true qualities of colouring.) Note the difference between ‘peaches’ and ‘flowers and fruits’.
Note: Alexandra Morrison (aR1) writes that she received an ‘honourable mention’ in the review of Garnier; this mustn’t be misunderstood with the official award of a ‘mention honorable’. Anyway, ‘Jacques François’ didn’t receive an official award (R337/1874).

S1873-589, Fleurs et fruits.
Eng.: Flowers and fruits. Garnier named this painting ‘The peaches’, so probably peaches were dominant in this painting, but probably flowers also were depicted, as indicated by the title of the catalogue.
To compare I render a compilation of two still lifes made by other artists that depict flowers and peaches:
Fantin-Latour (1836-1904): 1873, Pivoines et pêches (Peonies and peaches), 55x55cm, Bührle collection, Kunsthaus Zurich (iR6;iR10;M85;M86;iR1;iR40).
and: Victoria DuBourg (1840-1926): 1874, Still life with flowers and Peaches, 43x50cm, Toledo Museum of Art (M102;iR10;iR1;iR40).

 

 

Jacques François at the 2nd ‘impressionist’ exposition in 1876:
Mme de Rambures using the pseudonym Jacques François exhibited at the ‘impressionist’ exposition in 1876.
She showed 8 paintings (catalogue numbers 73-80), namely still lifes (R2,p204;R90I,p49;iR1).
See link for an impression of her exhibited paintings.

Reviews on ‘Jacques François’:
There were 10 reviews in 1876 who mention ‘Jacques François’ (R90I):
L’Audience (1876/04/09 =Rv34**; R90I,p53/54) sums up 17 partakers. Strangely ‘Jacques François’ is named ‘François-Jacques Levert’. Later he mentioned ‘Of M. François-Jacques, it is worth mentioning l’Estamo de tabacco à l’Alhambra‘
Emile Blémont (1876/04/09) mentions ‘a large still-life and a nice figure of a young woman’ (R90I,p64)
Philip Burty (1876/04/15) reviewed (1876/04/01) ‘At last in the 3rd room landscapes by Tillot*, Pissarro*, Cals*, Rouard* (sic), Beliard* and Ottin*; the remarkable Natures mortes, by a lady who took the pseudonym of Jacques-François* and a serie of paintings by Degas*; no.36* and washerwomen and dancers.(R90I,p105-106;R2,p153 =Rv16**).
And later (1876/04/15 ) ‘The third room contains… some nature mortes (…) by a woman of society who adopts the pseudonym of Jacques François. She has a very harmonious palette, and uses grays and free tints with remarkable skill’ (R90I,p65; Rv43).
Marius Chaumelin reviewed ‘In the marines of Lepic* and the still lifes of M. François* the tone is soft and harmonious.’ (Rv33***; R90I,p67-68;R2,p167).
Un passant mentions 17 of the 19 partakers, ending ‘without forgetting the still lifes of M. Jacques François’ (R90I,p101; Rv19)
Emile Porcheron (1876/04/04) reviewed ‘In the last room… Two still lifes by Mr. Jacques Français are not without skill; but why did you sprinkle them with rice powder?’ (R90I,p103; Rv28***)
Alex Pothey (=Rv6***) 1876/03/31 ‘regrets he can’t give the attention the conscientious works of Cals*, Tillot*, Rouard* (sic), Bureau*, Millet* deserve. Nor can we pay more attention to the beautiful still lifes signed by Jacques-François*.’ (R90I,p103+104;R2,p155/6).
Pierre Dax / Rivière (1876/05/01) reviewed (especially referring to 2IE-1876-77) ‘Mr. Jacques François (a lady, I believe) exhibited a remarkable still life with raisins, pastries, boxes with figs, etc. It is a masterpiece without precedent. Never has a still life been done with this spirit and in this style. It is an extraordinary work and opens a new way to the still life; we could not repeat it enough, we have never seen anything like it. The facture is wide and varied, very ingenious and of a very feminine boldness. Many other still lifes by the same painter contain the same qualities without being as important. Mr. Jacques François has just given a result that many artists will certainly benefit from.’ (R90I,p70/1; Rv51***)

And also: L. Laurent-Pichet in Le Phare de Loire 1876/06/01 (iR437)
“Les fruits et les fleurs de M. Jacques François, revêtus d’un duvet un peu moisi, manquent d’un vigoureux coup de soleil.
L’estamo de tabacco à l’Alhambra présente le même aspect de froid. Ces murailles, ces femmes, ces chiffons, ces trois chiens et cette moitié d’âne dont le reste est demeuré sur la palette ou enfoui dans la poussière, auraient besoin d’un coup d’ardente lumière. Un jour de travail de plus et les grenades s’ouvriront, et les raisins deviendront savoureux, et les roses jaunes se pâmeront de maturité.”
Translation English: The fruits and flowers of M. Jacques François, covered with slightly moldy down, lack a good dose of sunshine.
L’estamo de tabacco à l’Alhambra, has the same cold appearance. These walls, these women, these rags, the three dogs and this half of a donkey, the other half of which remained on the pallet or buried in the dust, would need a burst of bright light. One more day of work and the pomegranates will open, and the grapes will become tasty, and the yellow roses will be overwhelmed with abundance.

1876 catalogue ‘François (Jacques)’ :
(alphabetically listed as ‘F’)

2IE-1876-73, Raisins
Eng.: Grapes. Probably a still life. Emile Blémont (1876/04/09) mentions ‘a large still-life’ (R90I,p64), which can refer to all the still-lifes Jacques-François exhibited, not only no.77 as Berson suggests (R90II,p37).
Laurent-Pichet (iR437) reviewed ‘The fruits and flowers of M. Jacques François, covered with slightly moldy down, lack a good dose of sunshine.’
To compare I render a compilation of two still-lifes made by other painters depicting grapes:
Carducius Plantagenet Ream (1838–1917): Still Life with Grapes, 36x24cm, Metropolitan (M23;iR10;R2,p162).
And: Fantin-Latour (1836-1904): 1886, Assiette de raisin, 30×33, A2016/03/31 (iR13)
Compare also: Johan Laurentz Jensen (1800–1856): A cluster of green grapes, 34x28cm, A2007/09/13 (iR6)

2IE-1876-74, Prunes
Eng.: plums. Probably a still life. Emile Blémont (1876/04/09) mentions ‘a large still-life’ (R90I,p64), which can refer to all the still-lifes Jacques-François exhibited, not only no.77 as Berson suggests (R90II,p37).
Laurent-Pichet (iR437) reviewed ‘The fruits and flowers of M. Jacques François, covered with slightly moldy down, lack a good dose of sunshine.’
To compare I render a compilation of two still-lifes of another painter (from her generation) depicting plums:
Fantin-Latour (1836-1904): 1880, Nature morte aux prunes, 18×29, A20?? (iR13)
and: Fantin-Latour (1836-1904): 1886, Nature morte aux prunes, 29×49, A20?? (iR13)
Compare also a more finished work: Emilie Preyer (1849-1930): Nature morte de peches et prunes pourries (detail), ?cm, private (iR155;R2,p162)

2IE-1876-75, Estamo de tabacco à l’Alhambra
The meaning of this title is unclear. The Spanish verb ‘estamos’ means ‘we are’. ‘Tabacco’ is an English word, which is written in Spanish as ’tabaco’ and in French as ’tabac’. The Alhambra is the famous Moresque castle in Granada in the South of Spain (see info; see pictures).
‘L’Audience (1876/04/09) reviews that ‘it is worth mentioning’ this work of ‘M. François-Jacques’ (R90I,p53).
Laurent-Pichet (iR437) renders a description: “L’estamo de tabacco à l’Alhambra, has the same cold appearance. These walls, these women, these rags, the three dogs and this half of a donkey, the other half of which remained on the pallet or buried in the dust, would need a burst of bright light.” So, it renders the walls of the Alhambra, women, rags, 3 dogs and a donkey cut of half at the edge of the canvas. This last element is quite a progressive element, also applied by Degas, Caillebotte and others.
So, likely our paintress visited the Alhambra, which would suggest she was prosperous.
Compare a coloured litho of another artist partly depicting the same elements: John Frederick Lewis (1805-76): Patio de la Mesquita, coloured lithograph, in: Sketches and Drawings of the Alhambra. National Library, Madrid, 1835. (iR155;aR3;iR437;R2,p162).
See aR13 for several pictures of the Alhambra.

2IE-1876-76, Portrait de Mme M…
Eng.: Portrait of madame M…
Emile Blémont (1876/04/09) mentions ‘a nice figure of a young woman’ (R90I,p64).
To compare I render a large detail of a self-portrait: 1875-1900ca, Self-portrait (large detail), 125x90cm, private (aR10,p832;R2,p162)

2IE-1876-77, Le dessert
Eng.: The dessert. Probably a still life. Emile Blémont (1876/04/09) mentions ‘a large still-life’ (R90I,p64), which can refer to all the still-lifes Jacques-François exhibited, not only no.77 as Berson suggests (R90I,p64). The review of Gustave Rivière (1876/04/13) was reprinted (1876/05/01) in ‘L’Artiste’ (by Pierre Dax). It is a large and very positive review: ‘M. Jacques François (a lady, I believe) exhibited a remarkable still life, of dried raisins, bakeries, boxes of figs, etc. It is a masterpiece without precedent. Never has a still life been made with this spirit and in this craftsmanship. It is an extraordinary oeuvre that opens a new direction for still life; we can’t repeat it too often, we’ve never seen anything like it. The craftsmanship is broad and varied, very ingenious and daringly feminine. Many other still lifes by the same painter contain the same qualities but are not as important. Mr. Jacques François has just given a result from which many artists will certainly benefit.’ (R90I,p70). The fact that the review writes about ‘dried raisins, bakeries, boxes of figs, etc’ makes it likely it refers to this number 77.
To compare I render a compitation of two pictures. First a large detail of a contemporary picture depicting a desert; the dried raisins, bakeries and boxed of figs are not (explicitly) present, but it depicts an overall representation of a desert and thus fits the ‘etc.’ of Rivière:
Étienne Prosper Berne-Bellecour (1838-1910): 1876, La desserte, 130×195, A2000/10/18 (iR6;iR15;iR10); exhibited as S1876-148.
And secondly a much older picture explicitly depicting bread (the bakeries) and figs (without the boxes and without the dried raisins):
Luis Egidio Melendez (1716-1780): 1770ca, Still life with figs and bread, 48×34, NGA Washington (iR6;iR8;iR10;M21)
Compare also another painting of Melendez: 1760s, Still life with figs (and bread), 37x49cm, Louvre (iR155;iR10;iR6;M5;R2,p162;R90I,p70); note it entered the Louvre in 1934.

2IE-1876-78, Roses jaunes et raisin
Eng.: yellow roses and grape. Probably a still life. Emile Blémont (1876/04/09) mentions ‘a large still-life’ (R90I,p64), which can refer to all the still-lifes Jacques-François exhibited, not only no.77 as Berson suggests (R90II,p37).
Laurent-Pichet (iR437) reviewed ‘One more day of work and the pomegranates will open, and the grapes will become tasty, and the yellow roses will be overwhelmed with abundance.’ and also: ‘The fruits and flowers of M. Jacques François, covered with slightly moldy down, lack a good dose of sunshine.’
To compare I render a compilation of two still-lifes made by other painters:
One made in the 1890s depicting pink and yellow roses, accompanied by ripe peaches and grapes from a gallery (see): Edwin Steele 1837-1919: 1890s, Bouquet of pink and yellow roses, accompanied by ripe peaches and grapes, 71x80cm (with frame), Cheshire Antiques Consultant LTD, Chester.
A second made in 1911 depicting yellow roses and grapes (and oranges): Hus Dinspier: 1911, SDbr, Flower still life with yellow roses and fruits, 53×38, A2025/04/12 (iR11)
Note: both works don’t render the described ‘pomegranates’, but maybe this remark refers to no.79 +80.

2IE-1876-79, Raisin et grenades
Eng.: grape and pomegranates. Probably a still life. Emile Blémont (1876/04/09) mentions ‘a large still-life’ (R90I,p64), which can refer to all the still-lifes Jacques-François exhibited, not only no.77 as Berson suggests (R90II,p37).
Laurent-Pichet (iR437) reviewed ‘One more day of work and the pomegranates will open, and the grapes will become tasty, and the yellow roses will be overwhelmed with abundance.’ and also: ‘The fruits and flowers of M. Jacques François, covered with slightly moldy down, lack a good dose of sunshine.’
To compare I render two older an more traditional still-lifes of other painters depicting grapes and pomegranates:
José Ferrer (1746-1815): 1781, Still Life with grapes and pomegranates, oil on panel, ?cm, Prado Madrid (M101;iR10;R2,p162)
And: Johan Laurentz Jensen (1800–1856): 1833, Pomegranates and green and blue grapes on a marble frame, 24x31cm, NM Niva (Denmark) (iR6)

2IE-1876-80, Raisin et grenade
Eng.: grape and pomegranate. Probably a still life. Emile Blémont (1876/04/09) mentions ‘a large still-life’ (R90I,p64), which can refer to all the still-lifes Jacques-François exhibited, not only no.77 as Berson suggests (R90II,p37).
Laurent-Pichet (iR437) reviewed ‘One more day of work and the pomegranates will open, and the grapes will become tasty, and the yellow roses will be overwhelmed with abundance.’ and also: ‘The fruits and flowers of M. Jacques François, covered with slightly moldy down, lack a good dose of sunshine.’
To compare I render two older an more traditional still-lifes of other painters.
One depicting grapes and one pomegranate (and also peaches and prumes):
Josef Lauer (1818-81): Still Life with Grapes, Peach and pomegranate, 40x32cm, A2021/09/15 (iR11;iR10;R2,p162)
And one depicting grapes and two pomegranates:
Jean-Baptiste-Simeon Chardin (1699-1779): 1763, Still Life with grapes and pomegranates (detail), 47×57, Louvre (iR458;M5;R2,p162)

 

 

Jacques François at the 2nd ‘impressionist’ exposition in 1877:
Mme de Rambures using the pseudonym Jacques-François exhibited at the ‘impressionist’ exposition in 1877.
She showed two paintings (catalogue no.74 +75); a portrait and probably a scene depicting a vespers service (R2,p262;R90I,p118;iR1). She was not reviewed (R90I,p):
See link for an impression of her exhibited paintings.

1877 catalogue ‘Jacques-François’ :
(alphabetically listed as ‘J’)

3IE-1877-74, Portrait de madame B…
Eng.: portrait of madam B…
Maybe this is a self-portrait of Marie de Bouillé, maybe a portrait of her mother or an aunt.
As an uncertain option I render her self-portrait: 1875-1900ca, Self-portrait (large detail), 125x90cm, private (aR10,p832;R2,p162).

3IE-1877-75, À Vêpres
This could indicate a location. On Google maps I could not find a location with this name. There are two ‘chemin de Vêpres’ and one ‘rue de Vêpres’ in the neighbourhood of Lyon. As far as I know Mme de Rambure had no connections in the neighbourhood of Lyon. So, I don’t think this option as likely.
But ‘à vêpres’ also means at vespers or evensong, which would indicate a painting of a church service celebrating vespers, or a choir singing the vespers or some people present during a vespers.
To compare I render paintings of a vespers service done by  other painters:
Louis Massin (late 19th century?): 18??, Les Vêpres Eglise d’Esquibien, 104×89, A2023/05/27 (iR11;iR10;R2,p204)
Francesco Bergamini (1818-83): Evening vespers, 67×45, A2018/11/12 (iR11;iR10;R2,p204)
Compare also: Gari Melchers (1860-1932) depicted several church services including vespers, but the style is more post-impressionistic (Telfair museum); (iR433); (iR6).

I render also a second compilation, because no.75 also could depict something else:
One painting of women present during a vespers service:
Mieczysław Reyzner (1861-1941): 1892, During vespers, 180x143cm, National Museum, Lublin.
And one depicting monks at a vespers meal:
Compare Adolf Humborg (1847-1921): Three monks at vespers meal, 41x48cm, auctioned (iR10;iR6;R2,p204)
Note: it is most unlike that Mme de Rambures as a woman depicted monks; but this picture still renders the possibility that she depicted a vespers meal.

 

 

Comtesse de Rambure at the 8th ‘impressionist’ exposition in 1886:
Mme de Rambures, named Comtesse de Rambure*, also joined the 8th ‘impressionist’ exposition in 1886. She showed at least two pictures, including a figure painting and most likely also a still life.
Note*: without an ‘s’.
See link for an impression of her exhibited paintings.

Reviews on ‘Comtesse de Rambure’:
The critic Félix Fénéon* remarked sarcasticly: ‘la comtesse de Rambure of which the catalogue did not dare to mention her submissions.’ (R90I,p442;R5,p151;R90II,p250;R1,p523;aR10,p833). This plural form ‘submissions’ indicates she showed at least two works.
Note*: Fénénon his article in ‘La Vogue’ of 13-20 June 1886 was titled ‘Les impressionnistes (en 1886)’ (R2,p495), also to be found in his ‘Oeuvres’ published 1948 in Paris (R1,p544).
In a review of ‘H’ (1886/06/11) in ‘Le Journal des arts’ is written: ‘Finally, the blue woman of M. François, and we will end by regretting that most of these paintings are not more seriously finished.’ (R90I,p452).
Note: probably ‘H’ knew that Mme Comtesse de Rambure was the same as M. (Jacques) François. And does this mean, that she probably exhibited in 1886 several paintings in a more sketchy way, including a ‘blue woman’.

Outside the catalogue (=hors catalogue =hc):

8IE-1886-hc1, Femme bleue.
Based on the description of ‘H.’ in Le Journal des arts (1886/06/11) (R90I,p452), Comtesse de Rambure probably showed a painting depicting a woman in a blue dress.
To compare I render her selfportrait: 1875-1900ca, Self-portrait, 125x90cm, private (aR10,p832;R2,p162).
Note: the background is bluish, but not (the dress of) the woman; and this painting is also more finished.
To compare I also render: Corot (1796-1875): 1874, CR2180, Lady in blue, 80×51, Louvre (iR6;iR2;R61,p49;R231-1+2;R45;R61,no51;R119,no2180;M5); this lady clearly is depicted in blue (a blue dress).
I render a compilation of both.

8IE-1886-hc2, ?? Nature morte.
According to Félix Fénéon (R90I,p442), Comtesse de Rambure showed ‘submissions’, so at least two art-works.
And ‘H’ noted ‘we will end by regretting that most of these paintings are not more seriously finished.’ (R90I,p452). This indicates even more than two paintings. But, I will stick to at least two paintings.
Using the alias Jacques-François  she most often showed still lifes; so it is likely she also did so in 1886.
To compare I render a compilation of two random still lifes made by Fantin-Latour (1836-1904):
1868, Nature morte, 52x49cm, A2012/02/07 (iR6;iR15;iR10;iR1;iR40)
And: 1865, Flowers and fruit on a table (iR293;iR10;iR1;iR40).

 

Recommanded citation: “Impressionism: Mme de Rambures, an account of her exhibited pictures in 1873 +1876 +1877 +1886. Last modified 2026/03/09. https://www.impressionism.nl/mme-de-rambures-account/”

 

Note: when possible additional info will be added.