Camille Pissarro (1830-1903)

Account

of his exhibited works

 

 

Introduction:
On this page you will find an account of the paintings that Camille Pissarro exhibited at the 8 ‘impressionist’ expositions and at the Salon. There will be references to the Catalogue Raisonné of 1939 (=R126) and the Critical Catalogue of Paintings of 2005 (=R116). For the correspondance between these numbers see R116,III,p953-5. There will also be references to the catalogues of prints by Delteil of 1923 (R138XVII) and Beraldi of 1891 (R85XI).

 

The first ‘impressionist’ exposition 1874:

• catalogue numbers 136-140
• in total Pissarro (Camille) exhibited 5 works, all oil paintings
  • 2x indication of place
  • 2x indication of time, season or weather
  • 0x a study
  • 0x loans (appartient à…).
• See for the suggestions of Dayez / Adhémar (R87,p249/250); See for the suggestions of Moffett (R2,p122); See for the suggestions of Berson (R90II,p11/2+27); they refer to the Catalogue Raisonné of Ludovic Pissarro and Lionello Venturi of 1939 (=R126), referred to as CR.
• See for the suggestions of the Critical Catalogue of Paintings of Joachim Pissarro & Claire Durand-Ruel Snollaerts of 2005, page 362 of Volume I and the numbers of the CCP (=R116). The list comparing the CCP numbers with the CR numbers is in Volume III, p953-959
• See link for the pictures.

1874 catalogue: (R2,p122; iR1)

1IE-1874-136, Le Verger
Adhémar, Moffett and Berson suggest (with a perhaps) CR153 (R2,p137) = CCP248. The CCP suggests no.294, because and Leroy and Castagnary refer to cabbages (choux) (R116,CCP294;R2,p137). Leroy mentioning ‘les Choux’  suggests this was the title of the work exhibited (R87,p260), which could suggests a work exhibited outside the catalogue. But Castagnary explicitly refers to the title ‘les terres maraîchères (le Verger)’ which means ‘market garden land (the orchard)’ (R87,p265). (Leroy more often made his own title, see ‘champs labouré’ for ‘Gelée blanche’; R87,p259). So maybe ‘le verger’ wasn’t such a good title, more referring to fruit trees. It’s probably because of the title that Adhémar, Moffett and Berson suggested CR153=CCP248. Now: 1873, CCP294, The Cabbage Field, Pontoise, 60×80, MTB Madrid (iR2,R116).

1IE-1874-137, Gelée blanche
Adhémar, Moffett and Berson suggest CR203 (R2,p138) = CCP285. The CCP also suggests no.285. Now: 1873, CCP285, hoarfrost at Ennery, 65×93, Orsay (iR2;iR59;R2,p138;R116). Castagnary (1874/04/29) marks the ’trees that are placed outside the frame’ and also writes: ‘His synthesising gaze embraces the whole at a glance.’ (R116II,p226;R2,p138). The painting depicts the old road to Ennery (R2,p138). This work was bought by Fauré 1874/10/02 (R116II,p226;R2,p138).

1IE-1874-138, Les Châtaigners à Osny
Adhémar, Moffett and Berson suggest CR236 (R2,p139) = CCP313. The CCP also suggests no.313. Now: 1873ca, CCP313, Chestnut Trees at Osny, 65×81,private (iR2;iR59;R2,p139;R116). Also exhibited as no. 64 in 1883 at the solo exhibition organised by Durand-Ruel (R116II,p247).

1IE-1874-139, Jardin de la ville de Pontoise
Adhémar, Moffett and Berson suggest (with a perhaps) CR257 in a private collection in Honolulu (R2,p122) = CCP347. The CCP suggests no.309, just as Venturi (R126;R90II,p12). I render this suggestion of the CCP as ‘probably’ exhibited. Now: 1873, CCP309, The Municipal Garden, Pontoise, 60×73, Hermitage (iR2;iR59;R116). Pissarro lived close by at 16, rue Malebranche (now: 18, rue Revert). Maybe CR257=CCP347 was painted after the 1st ‘impressionist’ exposition. I will render this one as second options as ‘maybe’ exhibited. There were no reviews (R90II,p12).

1IE-1874-140, Une Matinée du mois de juin
Adhémar, Moffett and Berson suggests CR224 in the Staatliche Kunsthalle in Karlsruhe (R2,p122) = CCP312. The CCP also suggests no.312. Now: 1873, CCP312, Morning in June, Saint-Ouen-l’Aumône, 55×91, SKh Karlsruhe, (iR2;iR59;R116). It was also exhibited in 1877 in Pau (no.358) (R116I,p362). André Gorse then wrote: ‘Seldom have I seen a deeper, more harmonious sky… it has a naïve simplicity’. The painting depicts the only remaining corner tower of the former 13th century abbey and later estate of Maubuisson at Saint-Ouen-l’Aumône. (R116II,p246).

 

The second ‘impressionist’ exposition 1876:

• catalogue numbers 197-208
• in total  Pissarro exhibited 12 works, all oil paintings
  • 8x indication of place 
  • 5x indication of time, season or weather
  • 0x a study
  • 1x loan (appartient à…): no.199 à M. Chocquet
• See for the suggestions of Moffett (R2,p164) and Berson (R90II,p43+61/2); they refer to the Catalogue Raisonné of Ludovic Pissarro and Lionello Venturi of 1939, referred to as CR (=R126).
• See for the suggestions of Joachim Pissarro & Claire Durand-Ruel Snollaerts Volume I of the Critical Catalogue of Paintings of 2005, page 362 and the numbers of the CCP (=R116).
• See link for the pictures.

1876 catalogue: (R2,p164; iR1)

2IE-1876-197, Printemps, soleil couchant
Moffett suggests with a perhaps CR336 = CCP437, now: 1876, CCP437, Sunset effect, L’Hermitage, Pontoise, 46×55, private (iR10;iR48;R116). The CCP doesn’t give a suggestion, nor does Berson who refers to the reviews of Silvestre and Rivière (R90II,p43). Rivière / Dax just mentions the title and calls it very beautiful (R90I,p70). Silvestre renders the title as one of the very interesting paintings (R90I,p109). Maybe CCP246 and 248 are options, depicting a Spring landscape with a setting sun. They are made in 1872, so I thing CCP437 is the best option.

2IE-1876-198, Un étang à Montfoucault (Mayenne)
Moffett suggests with a perhaps CR268 in a private collection in Switzerland (R2,p183), Berson follows = CCP371, now: 1874, CCP371, The Pond at sunset,  Montfoucault, 54×66, private Switzerland (iR59;iR2;R2,p183;R116). The CCP doesn’t give a suggestion. Silvestre renders the title as one of the very interesting paintings (R90I,p109). There were no other reviews (R90I,p43). Pissarro rendered the pond at Montfoucault many times (R116,CCP96/371/372/373/390/426/428/429/430/665), the last one painted in 1881 is no option. CCP96 was made around 1864 and therefor a lesser option. CCP371 explicitly renders a sunset, what is not in the catalogue title, I therefor think it is a lesser option. CCP372 and 373 are better options.  CCP390 is made in winter. CCP426 is suggested for no.203. CCP428 is a good option being painted in the same time as CCP426. CCP429 is a large painting 114×110 and would likely have been reviewed more often. CCP430 is made in winter. Apart from CCP371 I will also render CCP372 and 428 as options. 

2IE-1876-199, Gelée blanche avec Brouillard ; appartient à M. Choquet (sic)
Moffett suggests CR246 = CCP331, Berson follows. The CCP also suggests no.331. Now: 1874, CCP331, Brouillard (Fog), 54×65, private (iR10;iR94;R116) Chocquet collection. 

2IE-1876-200, Neige, coteaux de l’Hermitage (Pontoise)
Moffett suggests CR238 in a private collection (R2,p156), Berson follows = CCP327. The CCP also suggests no.327. Now: 1874, CCP327, Effect of snow at the L’Hermitage, Pontoise, 55×66, private, (iR2;iR59;R2,p156;R116). 

2IE-1876-201, Fermes à Montfoucault
Moffett suggests CR274 in Musée d’Art et d’Histoire in Geneva, Berson follows = CCP377. The CCP also suggests no.337. Now: 1874, CCP377, Farm at Montfoucault, 60×74, MAH Geneva, (iR2;iR59;R116). 

2IE-1876-202, Les coteaux du Choux
Eng.: les coteaux means the hillside. Choux can refer to Chou a Hamlet close to Pontoise, but also means cabbages, see also 1IE-1874-136. Moffett suggests with a perhaps CR370 in the Metropolitan = CCP474, but this work never has been in the Metropolitan and it doesn’t depict the ‘sente du Chou’. Maybe Moffett refers to: 1874, CCP354=CR260, Woman herking a cow, View of the Côte du Valhermeil, Auvers-sur-Oise, 55×92, Metropolitan (iR2;iR59;R116). Berson also renders this suggestion based on subject and date, there were no reviews (R90I,p43). This work was known as a landscape on the road to Chou, which seems to be incorrect (R116,CCP354). The CCP doesn’t give a suggestion. The CCP writes that Gène-Mur minutely described this picture in La Correspondance française (1876/04/16) in a review titled ‘revue artistique: les impressionnistes’ (R116I,p362). I haven’t found this review yet, Berson doesn’t render it (R90I). When Chou refers to the Hamlet CCP290 is an option. When it refers to cabbages CCP301 can be an option. 

2IE-1876-203, Le berger
Moffett suggests with a perhaps CR366, Berson follows = CCP426. The CCP suggests also no.426. Now: 1875-6, CCP426, The shepherd at Montfoucault, sunset, 58×72, A1993/11/29 (iR10;R116).

2IE-1876-204, Effet de neige à Pontoise
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p43).  The CCP doesn’t give a suggestion. Options are CCP 279, 280, 284, 323, 328, 329, 330, 332, 392, 393. I will render 4 more recent works CCP329, 332, 392 and 393.

2IE-1876-205, Effet de neige, coteaux d’Osny
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p43). The CCP suggests no.286. I follow.

2IE-1876-206, Les jardins de l’Hermitage
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p43). The CCP doesn’t give a suggestion. Options are CCP 321, 342, 449. The last one was exhibited as 4IE-1879-182. The other two I render as uncertain options.

2IE-1876-207, Paysanne
Moffett doesn’t give a suggestion, nor does Berson; there was a review of Blémont (R90I,p43), who just writes ‘His Paysanne is a little better.’ (R90I,p64). The CCP doesn’t give a suggestion. Options are CCP368, 369, 420, I will render these. Other lesser options are CCP337, 355. 

2IE-1876-208, Village d’Hermitage
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p43). The CCP doesn’t give a suggestion. Pissarro very often depicted l’Hermitage, a quarter of Pontoise. The next works are the best options, because they depict more the village as a whole: CCP 348, 356, 410, 411, 412. I just render CCP356 and 412.

 

The third ‘impressionist’  exposition 1877:

• catalogue numbers 163 – 184
• so in total  Pissarro (Camille) exhibited 22 works
  • 18x indication of place; Côte Saint-Denis, Pontoise (no. 163+164+165); Jardin des Mathurins, Pontoise (no.166+167+168); Montbuisson, Pontoise (no.169+175); l’Hermitage, Pontoise (no.174+179); Bord de l’Oise (no.172+173+174+177); Montfoucault (no.181+182)
  • 4x indication of time, season or weather (no.171+172+176+178)
  • 0x a study
  • 8x loans (appartient à…): 3x M. C… (no.163+180+181) = Caillebotte; 4x M.H… (no.170+171+175+176; = Ernest Hoschedé); 1x M.Ch… (no.172)
• See for the suggestions of Moffett (R2,p206) and Berson (R90II,p80/1+98-100); they refer to the Catalogue Raisonné of Ludovic Pissarro and Lionello Venturi of 1939, refered to as CR (=R126); he also refers to Brettell: a day in the country (=R17).
• See for the suggestions of Volume I of the Critical Catalogue of Paintings of Joachim Pissarro & Claire Durand-Ruel Snollaerts of 2005, page 362 and the numbers of the CCP (=R116).
• See link for the pictures.

1877 catalogue: (R2,p206; iR1)

3IE-1877-163, Côte Saint-Denis à Pontoise, appartient à M.C…
Moffett suggests with a perhaps CR384 in the Musée d’Orsay in Paris, referring to Brettell and part of the Caillebotte bequest (R2,p199), Berson follows = CCP489. The CCP also suggests no.489. Now: 1877, CCP489, Red roofs, côte Saint-Denis, Pontoise, winter effect, 55×66, Orsay (iR2;iR59;R2,p199;R116), Part of the Caillebotte inheritance.

3IE-1877-164, Le verger, côte Saint-Denis, à Pontoise
Moffett suggests with a perhaps CR380 in the National Gallery in London, referring to Brettell (R2,p193), Berson follows = CCP488. The CCP also suggests no.488. Now: 1877, CCP488, Côte des Boeufs, Pontoise, 115×88, NG London (iR2;iR59;R2,p193;R116).

3IE-1877-165, Sous-bois, côte Saint-Denis, à Pontoise
Moffett suggests CR371 in a private collection in Paris, Berson follows = CCP451. This work doesn’t depict a hillside more just a forest. The CCP suggests no.490, I will follow this suggestion. 

3IE-1877-166, Jardin des Mathurins, à Pontoise
Moffett suggests CR349 in the Nelson-Atkins Museum of Art in Kansas City (R2,p231), Berson follows = CCP448. The CCP also suggests no.448. Now: 1876, CCP448, Garden at Les Mathurins, 113×165, NAMA Kansas City (iR59;iR2;R2,p231;R116). The garden belonged to the Deraismes Sisters. Part of the De Bellio collection. 

3IE-1877-167, Coin du Jardin des Mathurins, à Pontoise
Moffett suggests CR394 or 396, referring to Brettell, Berson follows = CCP503 or 504 . The CCP suggests no.503. Now: 1877, CCP503, In the Garden at Les Mathurins, 165×125, private (iR2;R116). I will also render CCP504: CCP504, 1877, A corner of the garden at Les Mathurins, Pontoise, 55×46, Orsay (iR10;iR6;R116,CCP504;R90II,p80;R2,p206;M1). There were no reviews.

3IE-1877-168, Sentier près les Mathurins, à Pontoise
Moffett suggests with a perhaps CR310 in the Kunstmuseum in Basel, Berson follows = CCP407. Now: 1875, CCP407, View of the Côte des Gratte-Coqs, Pontoise, 39×56, Km Basel (iR10;R116). On the left is the footpath to what is now Rue Maria-Deraismes, so probably it is close to the (garden or estate) les Mathurins. The CCP doesn’t give a suggestion. There was a review in Le Moniteur universal, wherin only the title was mentioned (R90I,p169).  

3IE-1877-169, Verger de Montbuisson, à Pontoise
Moffett suggests with a perhaps CR342 or 345, referring to Brettell, Berson follows = CCP440 or 442. The CCP suggests no.442, referring also to some sketches (R116,II,p352). Now: 1876, CCP442, The orchard at Maubuisson, Pontoise, 38×46, private (iR10;R116). Also exhibited as 4IE-1879-174.  Part of the Murer collection. As a more uncertain option I will also render CCP440: CCP440, 1876, The Jardin de Maubuisson, Pontoise, sunshine, 46×55, Barnes (iR10;iR6;R116,CCP440;R90II,p169;R2,p206;M25). There were no reviews.

3IE-1877-170, Vue de Saint-Ouen-l’Aumône, appartient à M. H…
Moffett suggests CR344, Berson follows = CCP441. The CCP also suggests no.441. Now: 1876, CCP441, Saint-Ouen-L’Aumône viewed from the Côte des Gratte-Coqs, 58×80, Yale New Haven (iR59;R116). Part of the Hoschedé collection (HD1878/06/05-72) and later the Fauré collection.

3IE-1877-171, La plaine d’Épluches (Arc-en-ciel), appartient à M. H…
Moffett suggests CR409 in Rijksmuseum Kröller-Müller in Otterlo (R2,p232), Berson follows = CCP495. The CCP also suggests no.495. Now: 1877, CCP495, The Rainbow, Pontoise, 53×82, KMM Otterlo, (iR2;iR59;R2,p232;R116). Part of the Hoschedé collection (HD1878/06/05-71) and later the Fauré collection. 

3IE-1877-172, Bord de l’Oise en automne, appartient à M. Ch…
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion. Nor does Berson, who refers to a review in the Petite République française (R90II,p81), who just calls it a remarkable painting (R90I,p176). To compare I render: Compare: CCP453, Rider on the banks of the Oise, Saint-Ouen-l’Aumône, overcast sky, 54×64, Boijmans Rotterdam (iR10;iR6;R116,CCP453;R2,p206;M70), a work probably bought from the artist by Eugène Leroux around 1877, what contradicts the loan by M. Ch…

3IE-1877-173, Bord de l’Oise, route d’Auvers
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion. Nor does Berson, who refers to a review in the Petite République française (R90II,p81), who just calls it a remarkable painting (R90I,p176). I render 2 uncertain options: Maybe: CCP303, 1873, Route d’Auvers on the banks of the Oise, P, 38×58, Indianapolis MA (iR10;iR6;R116,CCP303;R2,p206;M161) = sale HD1896/04/29-42; and more uncdrtain: CCP456, 1876, Le quai du Pothuis à Pontoise, 46×55, A2014/05/06 (iR11;R116,CCP456;R2,p206).

3IE-1877-174, Place de l’Hermitage à Pontoise
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion. Berson leaves out this work which means there were no reviews. As an uncertain option I render: CCP436, 1876, A Crossroads at l’Hermitage, Pontoise, 38×46, MuMa Le Havre (HW18;R116,CCP436;R2,p206;M15).

3IE-1877-175, Grand poirier, à Montbuisson, appartient à M. H…
Moffett suggests CR383, referring to Brettell = CCP493. (This work is not in the Bretell catalogue, the reference is unclear; R17). The CCP suggests no.492 = CR389, which Berson also sugggests.  Now: 1877, CCP492, Pear Trees in bloom, orchard at Pontoise, 61×72, private (iR10;iR94;R116) Part of the Hoschedé collection, maybe HD1878/06/05-64, Les poiriers, 60×72 (R90II,p81). I will also render CCP493 as a more uncertain option. 

3IE-1877-176, Paysage avec ruine (automne), appartient à M. H…
Moffett doesn’t give a suggestion. Berson leaves out this work which means there were no reviews. The CCP suggests no.335. Now: 1874, CCP335, Fog, Pontoise, 46×56, xx (iR94;iR10;R116) Was part of the Hoschedé collection. Note: the CCP335 doesn’t depict a ruin and the CCP depicts this work together with others made early winter 1874, all this makes this suggestion quite uncertain. As an uncertain alternative I render: CCP410, 1875, Houses at l’Hermitage (seen from Rue de la Côte-du-Jalet), Pontoise, 61×71, private (iR135;iR10;R116,CCP410;R2,p206);  the first house on the right seems ruined; compare also CCP348.

3IE-1877-177, Bord de l’Oise, marine
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion. Berson leaves out this work which means there were no reviews. As an uncertain option I render:  CCP459, 1876, Tug-boat and berges on the Oise, Pontoise, 38×56, Chapel Hill AAM (iR6;iR10;R116,CCP459;R2,p206).

3IE-1877-178, Basse-cour, pluie
Moffett doesn’t give a suggestion. Berson leaves out this work which means there were no reviews. The CCP suggests no.497. Now: 1877, CCP497, The hens, barnyard at the Red house, Pontoise, 33×41, private (iR10;iR94;R116). Note: This painting depicts more sunlight than rain, so I render it as a more uncertain option.

3IE-1877-179, Vue de l’Hermitage
Moffett suggests with a perhaps CR350 (=CCP449) in a private collection in Paris, referring to Brettell, Berson mentions this suggestion, but leaves it unidentified. There were no reviews.  The CCP doesn’t give a suggestion and suggests CCP449 for 4IE-1879-182.  I therefor render another uncertain option: CCP405, 1875, Chemin montant, Rue de la Côte-du-Jalet, Pontoise, 54×65, Brooklyn MA (iR10;M65;R2,p206;R116,CCP405); and also: CCP322, 1873, View of Pontoise, 53×81, private (iR10;iR7;R116,CCP322,R2,p206). Compare also CCP348 and CCP410.

3IE-1877-180, La Moisson, appartient à M. C…
Moffett suggests CR364 in Musée d’Orsay, part of the Caillebotte bequest (R2,p233), Berson follows = CCP465. The CCP also suggests no.465. Now: 1876, CCP465, Harvest at Montfoucault, 65×93, Orsay (iR2;iR59;R2,p233;R116). Caillebotte collection.

3IE-1877-181, Allée sous-bois, à Montfoucault, appartient à M. C…
Moffett suggests with a perhaps CR282 in a private collection in Paris, referring to Brettell, Berson follows = CCP383. The CCP also suggests no.383. Now: 1874, CCP383, Landscape with Rocks, Montfoucault, 66×93, A2000/11/09 (iR2;iR14;R116) Caillebotte collection.

3IE-1877-182, Un friche, à Montfoucault
Moffett doesn’t give a suggestion. Berson leaves out this work which means there were no reviews. The CCP suggests no.374 with a ? Now: 1874, CCP374, Piette’s Home on Montfoucault, 46×55, private (iR2;R116). Friche means waste land.

3IE-1877-183, Paysage
Moffett doesn’t give a suggestion, nor does Berson who refers to a review in the La Petite Republique, where it is only called remarkable (R90I,p176). The CCP suggests no.496 with a ?, referring to a drawing (R116II,p352). Now: 1877, CCP496, Gust of wind, Auvers-sur-Oise, 38×46, A1996/04/30 (iR10;iR94;iR15;R116).

3IE-1877-184, La plaine, à Pontoise
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion. Berson leaves out this work which means there were no reviews. I render two uncertain options: CCP319, 1873, Open fields with haystacks near Pontoise, 38×55, xx (iR10;iR166;R116,CCP319;R2,p206); and: CCP484, 1877, Terre labourée en hiver, avec un homme portant un fagot, 38×46, A2015/02/04 (iR11;R116,CCP484;R2,p206).

 

The fourth ‘impressionist’ exposition 1879:

• catalogue numbers 167-204+hc
• one work was exhibited outside the catalogue (=hors catalogue=hc)
• in total  Pissarro (Camille) exhibited 39 works;  23x oil paintings, 4x pastel (no.201-4), 12x fans no.189-200;
  • 12x indication of place
  • 17x indication of time, season or weather
  • 1x a study
  • 23x loans (appartient à…): 6x M. M… (no.174+175+176+177+187+203); 3x M. G… (no.178+179+189); 1x Mlle T… (no.180); 7x M.G.C… (no.181+182+183+184+185+186+192); 3x Mlle L… (no.190+191+195); 1x M. Ch… (no.199), 1x Mlle C… (no.200), probably Mary Cassatt; 1x M. C (no.204).
• See for the suggestions of Moffett (R2,p269/270) and of Berson (R90II,p117-120+137-141); They refer to the Catalogue Raisonné of Ludovic Pissarro and Lionello Venturi of 1939, referred to as CR (=R126).
• See for the suggestions of Volume I of the Critical Catalogue of Paintings of Joachim Pissarro & Claire Durand-Ruel Snollaerts of 2005, page 362 and the numbers of the CCP (=R116).
• See link for the pictures.

1879 catalogue: (R2,p270; iR1)

4IE-1879-167, Le pont de Pontoise
Moffett suggests CR443 = CCP551, Berson follows. The CCP also suggests no.551. Now: 1878, CCP551, Pontoise bridge, 61×73, Yamagata MA (iR10;iR64;R116)

4IE-1879-168, Lisière d’un bois
Moffett suggests CR489 in the Cleveland Museum of Art or CR455 in a private collection in Paris (R2,p287) = CCP597 or 564, Berson follows. Now: 1879, CCP597, In the woods at l’Hermitage, Pontoise, 125×163, Cleveland MA (iR2;iR59;R2,p287;R116) and: 1878, CCP564, Lisière de bois (edge of the wood), 63×83, A2008/06/24 (iR11;R116) Caillebotte collection. The CCP doesn’t give a suggestion, but suggests CCP597 for no.173 and CCP564 for no. 184. I render CCP569 as an uncertain option for no.168: CCP569, 1878ca, Peasants passing each other on a road, Pontoise (Côte des Grouettes), 74×60, Metropolitan (iR10;iR7;R116,CCP569;R2,p270;M23). Compare also CCP573 (7IE-1882-124), CCP575 (5IE-1880-131), CCP579 (no.178).

4IE-1879-169, Chemin sous bois
Moffett suggests CR416 in Musée d’Orsay (R2,p288) = CCP520, Berson follows. The CCP also suggests no.520 with a ?. Now: 1877, CCP520, Path through the woods, Summer, 81×66, Orsay (iR2;iR59;R2,p288;R116) Caillebotte collection.

4IE-1879-170, effet de neige (côté du Palais-Royal)
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p117). The CCP suggests no.394. Now: 1875, CCP394, La Maison Rondest sous la neige, Pontoise, 46×39, private (iR2;R116). There is a hillside seen through the alley, but I don’t know if this is the côte du Palais-Royal. 

4IE-1879-171, Effet de neige et glace (effet de soleil)
Eng: Snow and ice effect (sun effect). Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p117). The CCP doesn’t give a suggestion. I render two uncertain options: CCP390, 1874, The pond at Montfoucault, effect of winter, 60×73, private (iR10;iR166;R116,CCP390;R2,p270); and: CCP430, 1875, The pond at Montfoucault in winter, effect of snow, 114×110, Yamagata MA (iR10;iR166;R116,CCP430;R2,p270;M128).

4IE-1879-172, Effet de soleil, Boulevard Clichy (esquisse)
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p117). The CCP suggests no.619 or 618 with a ?. 1879, CCP618, The Outer Boulevards, Snow Effect, 54×65, Marmottan (iR2;R116); and: CCP619, 1879ca, Boulevard de Rochechouart, snowy weather, 55×46, private (iR10;iR64;R116,CCP619;R2,p270). 

4IE-1879-173, Sous-bois en été
Moffett suggests CR489 in the Cleveland Museum of Art or CR455 in a private collection in Paris (R2,p287) = CCP597 or 564, Berson follows. They both suggest these works also for no. 168. The CCP suggests CCP597 and reserves CCP564 for no. 184. I follow the CCP: 1879, CCP597, In the woods at l’Hermitage, Pontoise, 125×163, Cleveland MA (iR2;iR59;R2,p270+287;R116,CCP597;R90II,p117+137;M27).

4IE-1879-174, Le verger de Maubuisson ; appartient à M. M…
Moffett suggests CR345 = CCP442, Berson follows. The CCP also suggests no.442. Now: 1876, CCP442, The orchard at Maubuisson, Pontoise, 38×46, private (iR10;R116) Murer collection.

4IE-1879-175, Château des Mathurins, soleil couchant ; appartient à M. M…
Moffett suggests CR397 = CCP507, Berson follows. The CCP also suggests no.507. Now: 1877, CCP507, Les Mathurins, Pontoise, 73×59, A2006/11/09 (iR11) Murer collection.

4IE-1879-176, Automne, soleil couchant ; appartient à M. M…
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p118). The CCP suggests no.535. Now: 1877, CCP535, Le vieux chemin en automne, Pontoise, 73×59, private (iR10;iR64;R116). Murer collection. 

4IE-1879-177, Les peupliers, matinée d´été ; appartient à M. M…
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p118). The CCP doesn’t give a suggestion. As an uncertain option I render:  CCP600, 1879ca, Landscape at Pontoise (Fond de Saint-Antoine), 41×33, A2015/05/15 (iR10;iR6;iR15;R116,CCP600;R2,p270).

4IE-1879-178, paysage en février, femme revenant de la Fontaine ; appartient à M. G…
Moffett suggests with a perhaps CR480 in the Ny Carlsberg Glyptotek in Copenhagen = CCP579, Berson follows. The CCP also suggests no.579. Now: 1878, CCP579, Landscape with tall trees, 73×54, NCG Copenhagen (iR10;iR94;R116) Gauguin collection.

4IE-1879-179, Les meules ; appartient à M. G…
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. The CCP suggests no.574. Now: 1878, CCP574, Peasants and haystacks in a field, 54×65, private (iR10;iR94;R116) Gauguin collection. 

4IE-1879-180, Le potager ; appartient à Mlle T.
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p118). The CCP suggests no.577 with a ?. Now: 1878, CCP577, Kitchen garden at the Jardin de Maubuisson, Pontoise, 55×46, Tokyo BMA (iR10;R116).

4IE-1879-181, L’Hermitage, Vue de ma fenêtre ; appartient à M. G. C…
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p118). The CCP suggests no.489. Now: 1877, CCP489, The red roofs, Côte Saint-Denis, Pontoise, winter effect, 55×66, Orsay (iR2;R116). Gustave Caillebotte collection.

4IE-1879-182, Vue de l’Hermitage ;  appartient à M. G.C…
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p118). The CCP suggests no.449. Now: 1876, CCP449, Jardin en fleurs, L’Hermitage, vu depuis la côte Saint-Denis, 39×556, private (iR10;iR94;R116). Gustave Caillebotte collection.

4IE-1879-183, Printemps, pruniers en fleurs ;  appartient à M. G.C…
Moffett suggests CR387 in Musée d’Orsay (R2,p247) = CCP494, Berson follows. The CCP also suggests no.494. Now: 1877, CCP494, Kitchen Garden de Maubuisson (Trees in Blossom, Spring), 65×81, Orsay (iR2;iR59;R2,p247;R116). Gustave Caillebotte collection.

4IE-1879-184, Petit bois de peupliers en plein été ; appartient à M. G.C…
Moffett doesn’t give a suggestion, nor does Berson, who leaves out the work, which means there were no reviews. The CCP suggests no.564. Now: 1878, CCP564, Lisière de bois (edge of the wood), 63×83, A2008/06/24 (iR11;R116) Caillebotte collection. Moffett and Berson suggest this work as an option for no.168 and no. 173. 

4IE-1879-185, Planteurs de choux ; appartient à M. G.C…
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews (R90I,p. The CCP suggests no.399. Now: 1875, CCP399, The cabbage harvest, L’Hermitage, 54×65, Cincinnati AM (iR10;iR94;R116). Gustave Caillebotte collection. Note the difference between planting and harvesting in the titles. 

4IE-1879-186, Port-Marly ; appartient à M. G.C…
Moffett doesn’t give a suggestion. Berson leqves it unidentiefied and refers to reviews of Sébillot and Silvestre (16 + 24 April). The CCP suggests no.229. Now: 1872, CCP229, La Seine à Port-Marly, le lavoir, 47×56, Orsay (iR10;iR64) Caillebotte collection. 

4IE-1879-187, Petit bois, poules et canards ; appartient à M. M…
Moffett suggests CR441 = CCP578, Berson follows. The CCP also suggests no.578. Now: 1878, CCP578, The path to Les Pouilleux, Pontoise, 73×60, private (iR10;iR6;iR64;R116). Murer collection.

4IE-1879-188, Côte des Brouettes, temps gris
Moffett suggests CR314 = CCP414, Berson follows. The CCP also suggests no.414. Now: 1875, CCP414, Landscape at Pontoise, overcast sky, 54×65, private (iR2;R116). Formerly thought to be the ‘Côte des Grouettes’.

Fans / éventails:
The CCP doesn’t give suggestions because the fans are no paintings.

4IE-1879-189, L’Hiver, retour de la foire, Éventail ; appartient à M. M.G…
Eng.: Winter, return from the fair, Fan. Moffett suggests CR1626, Berson follows, now: 1878, CR1626, Winter, Return from the Fair, fan, 25×54, xx (iR155;iR10;R90II,p118+139;R2,p270;R126,no1626).

4IE-1879-190, L’Hiver, environs de Lower Norwood, Londres, éventail ; appartient à Mlle L…
Moffett suggests a work in the Museum of Fine Arts in Springfield (R2,p249), Berson follows and adds it was not in the CR: 1870s, CR-, Winter, the Outskirts of Lower Norwood, fan, 25×54, Springield MFA (M164;iR10;R90II,p118+139;R2,p249). 

4IE-1879-191, Laveuses, Éventail ; appartient à Mlle L…
Moffett suggests with a perhaps CR1617, referring to Gerstein: Degas’s fans, 1978/82, Berson follows, now: 1880-81ca, CR1617, Laundresses on the Banks of the Oise at Pontoise, gouache on silk, 15×53, private (iR2;R2,p270;R()II,p118+139;R126,no1617;R116II,p385). 

4IE-1879-192, Soleil couchant, Éventail, appartient à M. G. C…
Moffett suggests CR1625 in a private collection in Paris, referring to Gerstein: Degas’s fans, 1982, Berson follows, now: 18xx, CR1625, Travailleurs dans les champs, fan, 15×54, private (R90II,p139+118;R2,p270;R126,no1625). To compare I also render: 1889, Le troupeau de moutons, soleil couchant, fan, xx, private Mexico (iR10;R2,p270); and: 18xx, Femmes travaillant dans le champs, Pontoise, fan, gouache on silk, 15×54, A2019/10/17 (iR14;iR10;iR41;R2,p270).

4IE-1879-193, Meule, semeur, Éventail
Eng.: Millstone, Sower, Fan. Moffett suggests CR1614, Berson follows = 1879, CR1614, La vie aux champs (Meule et semeur), fan, gouache, 26×54, A1999/05/13 (iR13;R2,p270;R90II,p118+139;R126,no1614).

4IE-1879-194, Clair de lune, Éventail
Moffett suggests CR1611, Berson follows, now: 18xx, CR1611, Moonlight, fan gouache + silver, 17×54, xx (R90II,p139+118;R2,p270;R126,no1611). To compare I also render: 1890ca, Landscape (moonlight), fan, xx, IM Jerusalem (iR10;iRx;M130;R116,p343;R2,p270). 

4IE-1879-195, Vue de Pontoise, Éventail, appartient à Mlle L…
Moffett suggests CR1610, Berson follows, now: 18xx, CR1610, Paysannes à Pontoise (View on Pontoise), fan, 16×55, private (R90II,p140+118;R2,p270;R126,no1610). To compare I also render: 18xx, Le printemps, fan, gouache silk, 24×53, A2007/06/20 (iR10;aR1;iR64;R2,p270); and: 18xx, Vaches au pré, Pontoise au lointain, fan, 15×55, Axx (iR10;iR85;R2,p270). .

4IE-1879-196, La grande route, printemps, Éventail
Moffett doesn’t give a suggestion. Berson suggests CR1615 (R90II,p119), now: 18xx, CR1615, Enfants jouant sur une route, fan, g, 14×54, private (R90II,p140+119;R2,p270;R126,no1615).

4IE-1879-197, Pommiers en fleurs, Éventail
Moffett doesn’t give a suggestion. Berson suggests CR1621 (R90II,p119), now: 1878, Pommiers de fleurs (Coteaux de Chaponval), fan, gouache, 36×63, Orsay (iR10;iR59;R90II,p119+140;R2,p270;R126,no1621;M1).

4IE-1879-198, La toilette du matin, Éventail
Moffett doesn’t give a suggestion, nor does Berson. To compare I render a late monotype: 1894, Woman arranging her hair (detail), monotype, 20×16, Metropolitan (iR10;M23;iR174;R2,p270) . 

4IE-1879-199, L’étang de Montfoucault, Éventail ; appartient à M. Ch…
Moffett suggests CR1609, Berson follows, now: 18xx, CR1609, L’Abreuvoir de Montfoucault, fan gouache and silver, 26×56, xx (R90II,p119+140;R2,p270;R126,no1609) .

4IE-1879-200, Cueillette de petits pois ; Éventail ; appartient à Mlle C…
Moffett suggests Shapiro: Mary Cassatt at home. Boston, 1978, no.66, Berson follows adding it was not in the CR =1878ca, CR-, Cueillette de petit pois, (Pea picking) (les vendanges, the grape harvest), gouache on vellum, 28×57, A2014/05/08 (IR14;iR10;iR59;iR11;R2,p270;R90II,p119+140).

Pastels:
(Note: the Critical Catalogue of paintings (=R116) doesn’t give suggestions.)

4IE-1879-201, Portrait de Mlle E. E… ; (pastel)
Moffett suggests CR1536, Berson follows (there is no corresponding CCP number). The CCP doesn’t give a suggestion. Now: 1876, CR1536, Portrait of Eugenie Estruc (de Nini), pastel, 30×23, private (iR2;R2,p270;R90II,p119+140;R126,no1536)

4IE-1879-202, Portrait de Mlle M… ; (pastel)
Moffett suggests CR1537, Berson follows (there is no corresponding CCP number). The CCP doesn’t give a suggestion. Now: 1877, CR1537, Portrait de Mlle Marie Murer, pastel, 64×49, xx (iR135;iR10;R90II,p119+141;R2,p270;R126,no1537).

4IE-1879-203, Le Pâtissier ; (pastel)
Moffett suggests CR1538, Berson follows (there is no corresponding CCP number). The CCP doesn’t give a suggestion. Now: 1877, Eugene Murer at his pastry oven, pastel, 65×88, private (iR2;iR59;R90II,p119+141;R2,p270;R126,no1538)

4IE-1879-204, Intérieur campagnard (pastel); appartient à M. C…
Eng.: Countryside interior. Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. The CCP doesn’t give a suggestion. As a very uncertain option I render: 1878ca, Shoemakers, pastel, xx, private (iR2;R2,p270) .

4IE-1879-204+hc, Saules inondés en hiver
Moffett suggests CR477 (R2,p260) = CCP586, Berson follows. The CCP also suggests no.586. Now: 1879, CCP586, Banks of the Oise at Pontoise, effect of snow, 54×65, private (iR6;iR10;R116).

 

 

The fifth ‘impressionist’ exposition 1880:

• catalogue numbers 128-143.
• Number 139+140+141 contained of 4 engravings and number 142 of 5.
• So in total Pissarro (Camille) exhibited 29 works, including 10 oil paintings, 1 fan and18 engravings.
  • 6x indication of place
  • 4x indication of time, season or weather
  • 0x a study
  • 2x loans (appartient à…): M. Gauguin (no.128); M. Doucet (no.138)
• See for the suggestions of Moffett (R2,p312/3); Moffett refers to the Catalogue Raisonné of Ludovic Pissarro and Lionello Venturi of 1939, referred to as CR (=R126). Moffett refers for the etchings to Delteil: Le peintre-graveur illustré (XIX-siècle). Vol.17. Paris, 1923 (=R138).
• See for the suggestions of Volume I of the Critical Catalogue of Paintings of Joachim Pissarro & Claire Durand-Ruel Snollaerts of 2005, page 362 and the numbers of the CCP (=R116). Note: the CCP doesn’t give suggestions for the etchings.
• See link for the pictures.

1880 catalogue: (R2,p312/3; iR1)

5IE-1880-128, Le scieur de bois; appartient à M. Gauguin
Moffett suggests CR499 in the Robert Holmes à Court collection in Perth (R2,p329), Berson follows = CCP610. The CCP also suggests no.610. Now: 1879, CCP610, Père Melon Sawing Wood, 89×116, private (iR2;iR59;R2,p329;R116).

5IE-1880-129, Jardin
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion. Berson leaves it out which means there were no reviews (R90II,p152). There are many uncertain options, such as CCP342, 347, 447, 502, 554, 555, 598 and 622. I render: CCP502, 1877, Garden at l’Hermitage, the ‘Red House’, Pontoise, 55×65, private (iR10;iR166;R116,CCP502;R2,p312) ;and: CCP622, 1880, The gardens at Le Valhermeil, Auvers-sur-Oise, 54×66, NG Prague (iR10;iR6;R116,CCP622;R2,p312;M140).

5IE-1880-130, Récolte des petits pois
Moffett suggests CR519, Berson follows = CCP627. The CCP also suggests no.627. Now: 1880, CCP627, Harvesting peas, 60×73, private (iR59;R116).

5IE-1880-131, Automne, chemin sous bois
Moffett suggests CR505 (R2,p330), Berson follows = CCP575. The CCP also suggests no.575. Now: 1878, CCP575, (A path) in the woods in Autumn, Pontoise, 81×66, A2001/02/05 (iR2;iR14;R116). Note: Berson depicts CCP451 instead of CCP575 (R90II,p169), CCP451 depicts more a summer scene.

5IE-1880-132, Paysage, route d’Ennery
Moffett doesn’t give a suggestion, nor does Berson; there were two uncertain reviews (R90II,p152). The CCP suggests no.408. Now: 1875, CCP408, View of the Maison des Mathurins (The Saint-Antoine Road at l’Hermitage), 52×81, Km Basel (iR2;R116).

5IE-1880-133, Récureuse de casserole
Moffett suggests CR473, Berson follows = CCP590. The CCP suggests also no.590. Now: 1879, CCP590, Woman Washing a Saucepan, 73×60, private (iR2;R116).

5IE-1880-134, Jardin potager
Moffett suggests with a perhaps CR448 or CR451 (Galleria d’Arte Moderna, Florence) or CR496 (Musée d’Orsay) or CR514 = CCP554 or 558 or 607 or 644. Berson leaves the work unidentified, there was only one review of Trianon (R90II,p152). The CCP suggests no.607, based on this review of Trianon. Now: 1879, CCP607, Vegetable Garden at l’Hermitage, Pontoise, 55×66, Orsay (iR2;R116). CCP644 and 554 indeed don’t fit this discription. CCP558 could fit this discription, but was exhibited in Florence in 1879 and part of the Diego Martelli collection. So I follow the CCP.

5IE-1880-135, Printemps
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion. Berson leaves it out which means there were no reviews (R90II,p152). There are many uncertain options: CCP 353, 397, 439, 443, 493, 505. I render: CCP353, 1874, Spring morning, Pontoise, 46×55, A2010/05/04 (iR11;R116,CCP353;R2,p312); and: CCP443, 1876ca, Plum trees in bloom, Pontoise, 46×55, A2010/11/04 (iR10;iR114;iR11;R116,CCP443;R2,p312).

5IE-1880-136, Gardeuse d’oies (Mayenne) ; peinture sur ciment
Moffett suggests CR525 in the Tate Gallery in London, Berson follows = CCP628. The CCP also suggests no.628. Now: 1880, CCP628, Young gril carding wool, on cement, 56×46, Tate London (iR10;R116,CCP628;R2,p312;R90II,p152+169;M62).

5IE-1880-137, paysage d’été
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion.

5IE-1880-138, Éventail; appartient à M. Doucet
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion. Berson suggests: 1882-83ca, Le pont de chemin de fer à Pontoise, fan, gouache on silk, 30×57, A2010/06/23 (iR11;iR35;iR6;iR10;R90II,p152+169;R2,p313).

Eaux-fortes :
Note 1: the etchings were reviewed by Huysmans and Silvestre (1880/04/24) (R90II,p153). It is (mostly) uncertain which of the states Pissarro did exhibit. So most of the suggestions are with a perhaps or =!?. Note 2: (Note: the Critical Catalogue of paintings (=R116) doesn’t give suggestions.)

5IE-1880-139, Un cadre :
-Quatre états, du paysage
faisant partie de la première livraison de la publication « le Jour et la Nuit » 
Moffett suggests Delteil 16, Berson affirms. Now: 1879, D16+B18?, Wooded landscape at L’Hermitage, Pontoise, etch, 22×27, MFA Boston (iR59;R46,p125;R138XVII,no16;R85XI,p13;R90II,p169;M22)

5IE-1880-140, Un cadre :
5IE-1880-140-1,2,3 -Trois états, de la foire de la Saint-Martin
Moffett suggests Delteil 21, Berson affirms. I render 2 states: 1879, D21+B11, Foire de Saint-Martin à Pontoise, effet de pluie, etch ps, 12×16, A2016/11/03 (iR11;R2,p313;R138XVII,no21;R85XI,p13;R90II,p170). I could find just 2 pictures.
5IE-1880-140-4, -Un état, pointe sèche, marchande de marrons
Moffett suggests Delteil 15, Berson affirms. Now: 1878, D15+B7, Marchande des marrons (foire de la St.-Martin), etch, 21×16, Metropolitan (iR59;R138XVII,no15;R85XI,no7;R2,p313;R90II,p170;M23)

5IE-1880-141, Un cadre :
5IE-1880-141-1, Un état, paysage, route et côteaux près Laroche-Guyon
Moffett suggests Delteil 27 or 5 (per Loyd GBA), Berson affirms Delteil 27. Now: 1880, Delteil27, Château de la Roche Guyon, 17×24, etch ps, A2016/11/03 (iR11;iR59;R2,p313;R90II,p153+170). Leymaire and Melot (1971) suggest Delteil 5, now: 1866ca, D5, La Roche-Guyon, etch, 27×22, xx (R138XVII,no5;R90II,p153;R2,p312). I will also render this one and reserve Delteil 27 for no.141-3.
5IE-1880-141-2, Un état, effet de pluie
Moffett suggests Delteil 24, Berson affirms. Now: 1879, D24+B14, Effet de pluie (Rain Effect), dry point, 35×26, Ashmolean Oxford (aR2;iR11;R2,p313;R90II,p153+170;M66).
5IE-1880-141-3, -Un état, vache et figure
Moffett suggests Delteil 58, Berson affirms, now: 1885, D58, La vache, ps 2nd state, 12×11, A2017/09/19 (iR11;R90II,p170+153;R2,p312;R138XVII,no58;R85XI,no41). I will render this work just to compare, because it is dated later, namely 1885. Leymaire and Melot (1971) suggest Delteil 27, see also no.141.1 (R90II,p153). I will render this suggestion. To compare I also 5IE-render: 1874ca, D135, Femme et enfant dans les champs, litho, 16×22 (or14x19), A2016/04/15 (iR11;R2,p313)
5IE-1880-141-4, -Un état, pointe sèche,  côteaux de l’Hermitage, Pontoise
Moffett suggests Delteil 28, Berson affirms. Now: 1880, D28, Paysage à l’Hermitage, Pontoise, dry point, 11×12, A2017/09/19 (iR11;R2,p313;R90II,p153+170;R138XVII,no28). 

5IE-1880-142, Un cadre:
5IE-1880-142-1,2,3-trois états, paysage, masure
Eng.: three states, landscape, hovel. Nl.: landschap, krot. Moffett suggests Delteil 20, Berson affirms. I render 3 states. Now: 1879, D20+B12, La Masure, etch, 3rd state, 16×17, A2016/11/03 (iR11;R2,p313;R90II,p153+171;R138XVII,no20;R85XI,no12)
5IE-1880-142-4,5 -Deux états, paysage, arbres et coteaux
Moffett suggests with a perhaps Delteil 19, Berson affirms. Now: 1879, D19, Chemin sous-bois à Pontoise, etch, 16×21, BM London (R90II,p171+153;R138XVII,no19;M181). I could find just one picture. 

5IE-1880-143, Un cadre :
 -Un état, petit bois à l’Hermitage, Pontoise
Moffett suggests with a perhaps Delteil 17, Berson affirms. Now: 1879, D17, Paysage en long, etch, 11×38, A2013/09/12 (iR11;R2,p313;R90II,p153+171;R138XVII,no17).

 

The sixth ‘impressionist’ exposition 1881:

• catalogue numbers 63-90
• in total Pissarro (Camille) exhibited 28 works: 11 oil paintings; 15 gouaches; 2 pastels
  • 13x indication of place
  • 5x indication of time, season or weather
  • 1x a study;
  • 14x loans (appartient à…): M. J.P. (no.63+64); M.P (no.65+66+67); M. Clapisson (no.74); Mlle Cassatt (no.75+77); M. Dreyfus (no. 76);  M. May (no.78); M. Bérard (no.79); M. Ch. Ephrussi (no.80); M. Rouart (no.81); M. Gauguin (no.82)
• See for the suggestions of Moffett (R2,p355) and of Berson (R90II,p183/4 + 193-195); they refer to the Catalogue Raisonné of Ludovic Pissarro and Lionello Venturi of 1939, referred to as CR (=R126).
• See for the suggestions of Volume I of the Critical Catalogue of Paintings of Joachim Pissarro & Claire Durand-Ruel Snollaerts of 2005, page 362 and the numbers of the CCP (=R116). The CCP doesn’t give suggestions for the gouaches and the pastels.
• See link for the pictures.

reviews:
Jules Claretie (1881/04/05) reviewed ‘Le Clos des choux (no.64) by Mr. Pissarro is, however, quite astonishing. It reminds one of Millet.’ (R90I,p334).
Félix Fénénon (1886/06/13-20) just mentioned (part of the) titles of no. 63, 64 and 71 (R90I,p444).
Gustave Geffroy (1881/04/19) reviewed ‘It is mainly the impressionist landscape artists that we are thinking of at the moment. It is true that there are some beautiful pictures of M. Pisssarro in this year’s exhibition; his peasants, working under the burning lights of a summer sky, have a simple and great style; in his brilliant, deep landscapes, an implacable light vibrates. But all tones taken to the extreme have a certain monotony. Furthermore, an identical process does not render different effects. I admire la Sente du chou (no.63), le Paysage d’été (no.67), la Moisson (no.74), but I can’t regret seeing the le Boulevard Rochechouart (no.90)  covered with purple and lilac spots, the meaning of which is completely lost on me.’ (R90I,p342).
Armand Silvestre (1881/04/11) reviewed ‘M. Pissarro is there, it is true, and holds high the flag of the dispersed battalion. Of his twenty-eight canvases or gouaches, there is not one that deserves to be looked at (?HW). La sente des choux en mars (no.63) is a work full of sincerity and accuracy. I would say the same about la Maison du passeur au choux (no.70)  and I love la Ravaudeuse (no.88) very much. M. Pissarro reminds one of Millet without imitating him in any way.’ (R90II,p365).
Armand Silvestre (1881/04/16) reviewed ‘The submission of M. Pissarro comprises no less than twenty-seven oil and gouache paintings. It is still the same sincere art, reminiscent of Millet only in the similarity of the subjects, but truly original, with a very special vision of things, but remaining absolutely correct in the tone adopted. I especially like la Sente des choux en mars (no.63) , la Maison du passeur aux choux (no.70) and, in lesser dimensions, la Ravaudeuse (no.88) ‘ (R90I,p366).

1881 catalogue: (R2,p354/5; R90I,p326/7;iR1)

6IE-1881-63, La Sente du choux en mars; appartient à M. J.P.
Moffett suggests CR452 in Musée de la Chartreuse, Douai (R2,p347), Berson follows = CCP542. The CCP also suggests no.542. Now: 1878, CCP542, The Path to Le Chou, Pontoise (in March), 57×92 (or57x92), MC Douai (iR2;iR59;R2,p347;R116). Le chemin du Chou, lies in the hamlet of Chou, which is part of Pontoise (iR9).

6IE-1881-64, Le clos du choux, le matin; appartient à M. J. P.
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion, nor does Berson who refers to the reviews of Claretie and Fénéon (1886). Eng.: enclosed land with cabbages, morning. Pissarro often depicted cabbages. Just two also depict a closed or fenced land, namely CCP554 and 558, which I will render: CCP554, 1878, Kitchen garden and orchard, Pontoise, 22×23, HM Huntington (iR10;iR94;R116,CCP554;R2,p354). CCP558 was part of the Diego Martelli collection, so I will render that one to compare, CCP558, 1878, In a kitchen garden, 47×56, GAM Florence (iR10;iR94;R116,CCP558;R2,p354;M105) . Neither of them clearly depict a morning scene. CCP294 does more and was exhibited as 1IE-1874-136. Another possiblility is that the title refers to the hamlet of Le Chou, see no.63.

6IE-1881-65, La côte des Grouettes, automne; appartient à M. P.
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion, Berson follows, there were no reviews (R90II,p183). As uncertain options I render: CCP550, 1878ca, Landscape at Pontoise (Côte des Grouettes), on panel, 8×10, A2016/04/05 (iR10;iR11;R116,CCP550;R126,CR460); and: CCP569, 1878ca, Peasants passing each other on a road, Pontoise (Côte des Grouettes), 74×60, Metropolitan (iR10;iR7;R116,CCP569;R126,CR465;M23). Note: I render them to compare because these works didn’t belong to a Mr. P.

6IE-1881-66          Une cour à l’Hermitage, étude, appartient à M. P.
Moffett doesn’t give a suggestion. The CCP suggests no.634 or 635 with a ?. Now: 1880, CCP634, La cour de la maison Rondest, Pontoise, 35×27, A2010/11/04 (iR10;iR15;iR11;R116). Option 2 is: CCP635, 1880, The courtyard at the rondest house, Pontoise, 54×45, OMA Kurashiki (iR10;iR94;R116,CCP635;M129). Note: these works didn’t belong to a Mr. P. Berson leaves the work unidentified, there were no reviews (R90II,p183).

6IE-1881-67          Paysage d’été avec figures; appartient à M. P.
Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion, nor does Berson, who refers to the review of Geffroy. Most pictures that fit this title, are pictures of people harvesting. I found two other pictures, that I will render to compare, they both weren’t part of the collection of Mr. P. : CCP636, 1880, La récolte (Côte des Grouettes), Pontoise, 46×56, A2010/02/02 (iR11;R116,CCP636;R126,CR517); and: CCP638, 1880, Peasant woman in a field, Pontoise, 47×65, private (iR10;iR6;R116,CCP638) 1891/04/22 Vignon sold this work to Durand-Ruel.

6IE-1881-68          Chaumières au Val Hermé
The CCP suggests no.632. Now: 1880, CCP632, Rue des Roches at Le Valhermeil, (Thatched Cottages and a Cow), 60×73, private (iR2;R116). Moffett suggests with a perhaps for no. 68 and 69 CR506 in a private collection or CR511 (R2,p367), Berson follows = CCP639 or 631. Now: 1880, CCP639, La Valhermeil, Auvers-sur-Oise, 54×65, private (iR2;R2,p367;R116).

6IE-1881-69          Chaumières au Val Hermé
The CCP suggests no.631. Now: 1880, CCP631, Cottages at le Valhermeil, Auvers-sur-Oise, 59×73, private (iR59;R116). Moffett suggests with a perhaps for no. 68 and 69 CR506 in a private collection or CR511 (R2,p367), Berson follows = CCP639 or 631. Now: 1880, CCP639, La Valhermeil, Auvers-sur-Oise, 54×65, private (iR2;R2,p367;R116).

6IE-1881-70          La maison du passeur au Choux
Eng.: House of the ferryman or smuggler. Moffett doesn’t give a suggestion. The CCP doesn’t give a suggestion, nor does Berson, who refers to reviews of Silvestre (11+16/4/1881). For le Chou, see no. 63. I render a very uncertain options: CCP613, 1879, Peasant woman and goat in front of a house, Pontoise, 58×70, Muskegon MA (iR10;iR94;R116,CCP613). To compare I also render: CCP604, 1879, Le chemin de halage, environs Pontoise, 56×46, A2001/11/06 (iR11;iR15;R116,CCP604).

6IE-1881-71          Soleil couchant, la plaine du Choux
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of Fénéon (1886), Huysmans and Vernay (R90II,p183). The CCP suggests no.621, citing the review of Huysmans (R90I,p350). Now: 1880, CCP621, Soleil couchant au Valhermeil, Aurvers-sur-Oise, 54×65, A2011/02/08 (iR11;R116).

6IE-1881-72          Paysage pris sur le vieux chemin d’Ennery, près Pontoise
Moffett doesn’t give a suggestion, Berson follows, there were no reviews (R90II,p183). The CCP suggests no.595. Now: 1880, CCP595, View from the road to Ennery, 54×65, Kanagawa PMA (iR10;iR94;R116). Maybe CCP 524 also is an option: CCP524, 1877, The old road to Ennery, Pontoise, 92×151, Ottawa NGC (iR10;iR94;R116,CCP524;M113).

6IE-1881-73          Temps gris, automne au Val Hermé
Moffett doesn’t give a suggestion. The CCP suggests no.639 with a ?. Now: 1880, CCP639, La Valhermeil, Auvers-sur-Oise, 54×65, private (iR2;R2,p367;R116). Note: Moffett had suggested this work as an option for no.68 or 69, so did Berson.

gouaches:
(Note: the Critical Catalogue of paintings (=R116) doesn’t give suggestions.)

6IE-1881-74          La Moisson, gouache ; appartient à M. Clapisson
Eng.: the harvest. Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of C.E., Geffroy, Huysmans, Michel, de Mont. Michel described ‘of a blond, quiet and fine colour.’ (R90I,p359). It reminded Huysmans of gouaches made by Ludovic Piette (R90I,p351). To compare I render a pastel: 1876, étude pour La moisson à Montfoucault, pastel, 21×26, A2007/02/06 (iR11;iR2;R2,p355;R116,CCP465), a ‘blond’ work made in Montfoucault, where Piette did live and resembling CCP465, exhibited as 3IE-1877-180.

6IE-1881-75          Village de la Mayenne, gouache ; appartient à Mlle Cassatt
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. To compare I render another gouache with a village view: 1881, Paysage à Melleray, femme donnant à boire à des chevaux, gouache, 35×46, A2015/11/05 (iR11;R2,p355).

6IE-1881-76          La récolte des pommes de terre, gouache ; appartient à M. Dreyfus
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of Cardon, Enjoiras, Ganzague-Privat, de Mont., which also can refer to no. 77. They all don’t render a description. I render: 1886, CR1405, The Potato Harvest, gouache, 29×41, A2018/05/10 (iR11;iR15;iR6;R126,CR1405;R2,p355). This work is dated 1886, but it resembles CCP360, which is dated 1874.

6IE-1881-77          La récolte des pommes de terre, gouache ; appartient à Mlle Cassatt
Moffett suggests CR1338 (R2,p345), Berson follows, adding: 1880, CR1338, La récolte des pommes de terre, gouache on paper, 27×49, xx (R90II,p183).

6IE-1881-78          Fendeur de bois, gouache ; appartient à M. May
Eng.: Wood splitter. Moffett suggests CR1336, Berson follows, adding: 1880, CR1336, Le Père Melon fendant du bois, gouache on paper, 32×21, xx (R90II,p183).

6IE-1881-79          Paysanne bêchant, gouache ; appartient à M. Bérard
Eng.: Peasant woman digging. Moffett suggests with a perhaps CR1349. Berson suggests: 18xx, CR1374, Paysanne bêchant, gouache on paper, 20×32, xx; GP1905/05/08-44, sale Paul Bérard (R90II,p183).

6IE-1881-80          La gardeuse de chèvres, gouache ; appartient à M. Ch. Ephrussi
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of C.E. and de Mont., the last reviewed ’the girl walking the goat’ (R90I,p337) . Compare: 7IE-1882-120 + 135, an oil painting and a gouache with the same title.

6IE-1881-81          Une rue à Lower Norwood, environs de Londres, gouache ; appartient à M. Rouart
Moffett doesn’t give a suggestion. This work was a loan by Henri Rouart (R1,p449). Berson suggests: 18xx, CR1321, Eglise de Westow Hill, watercolour with gouache on paper, 19×24, xx; = MJ1912/12/16-268, Rouart sale (R90II,p183/4).

6IE-1881-82          Paysage, gouache ; appartient à M. Gauguin
Moffett suggests CR1331 in the Ny Carlsberg Glyptotek in Copenhagen, Berson follows, adding: 18xx, CR1331, Paysage près Pontoise avec un paysan marchant dans un sentier, tempera on canvas, 30×22, NCG Copenhagen (R90II,p184).

6IE-1881-83          Enfants dessinant, gouache
Moffett suggests CR1334, Berson follows, adding: 1880, CR1334, Enfants à table, gouache on millboard, 30×42, Mellon collection Upperville (R90II,p184).

6IE-1881-84          Paysan émondant, gouache
Eng.: Peasant pruning. Nl.: boer aan het snoeien. Moffett suggests CR1340, Berson follows, adding: 18xx, CR1340, Paysan émondant des branches, gouache on paper, 46×38, xx (R90II,p148).

6IE-1881-85          Le retour à la ferme, gouache
Moffett suggests CR1350, Berson follows, adding: 1881, CR1350, Le retour des champs, gouache on paper, 25×31, xx (R90II,p184). I render a similar etch: 1881, Le retour des champs, etch, 25×31, xx (iR10;R90II,p184+195;R2,p355;R126,CR1350)

6IE-1881-86          La foire de la Saint-Martin à Pontoise, gouache
Moffett suggests CR1618. Berson doesn’t agree and suggests: 1881, CR1348, La marchande de marrons, foire de la Saint-Martin, Pontoise, tempera on paper, 46×37, xx (R90II,p184), she refers to a review of de Charry and de Mont.

6IE-1881-87          Paysages du Val Hermé causant dans la rue, gouache
Eng.:  Landscapes of the Val Hermé; talking in the street. Moffett suggests CR1344, Berson follows, adding: 1881, CR1344, Rue de village avec trois paysannes causant à gauche (Valhermeil), gouache on paper, 28×46, xx (R90II,p184).

6IE-1881-88          La ravaudeuse, gouache
Moffett suggests CR1355 or 1356 (R2,p345), Berson follows his first suggestion, adding: 1881, CR1355, Femme raccommodant des bas, gouache on paper, 32×25, private USA (R90II,p184).

Pastel:
(Note: the Critical Catalogue of paintings (=R116) doesn’t give suggestions.)

6IE-1881-89          Paysage, pastel
Moffett doesn’t give a suggestion, nor does Berson who refers to the review of Trianon, who reviewed ‘a pastel entitled “Paysage” and depicting a market in the open air ‘ (R90I,p367). Maybe??: 18xx, Market at Gisors, drawing + pastel, 20×17, private (iR2;R2,p355;R90I,p367).

6IE-1881-90          Boulevard Rochechouart, pastel
Moffett suggests CR1545 (R2,p346), Berson follows, adding: 1881, CR1545, Le Boulevard de Clichy, effet de soleil d’hiver, pastel on paper, 60×75, private (R90II,p184). Geffroy reviewed but I can’t regret seeing the le Boulevard Rochechouart (no.90)  covered with purple and lilac spots, the meaning of which is completely lost on me.’ (R90I,p342).

 

The 7th ‘impressionist’ exposition 1882:

• catalogue numbers 101-136+hc2
• no.123+124 are left out in the catalogue and there were 2 works exhibited outside the catalogue (=hors catalogue = hc). Moffett and the CCP (following Isaacson (1980) change the titles of no.122-4. I stick to the original titles.
• So in total Pissarro exhibited 36 works: 25 oil paintings; 10 gouaches (no.126-135); 1 détrempe (=tempera; soaked wet) (no.136)
  • 4x indication of place
  • 7x indication of time, season or weather
  • 4x a study
  • 0x loans (appartient à…)
• See for the suggestions of Moffett (R2,p395) and of Berson (R90II,p208-210 + 225-228); they refer to the Catalogue Raisonné of Ludovic Pissarro and Lionello Venturi of 1939, referred to as CR (=R126).
• See for the suggestions of Volume I of the Critical Catalogue of Paintings of Joachim Pissarro & Claire Durand-Ruel Snollaerts of 2005, page 362 and the numbers of the CCP (=R116). The CCP doesn’t give suggestions for the gouaches no.126-135.
• See link for the pictures.

reviews:
Emile Hennequin (1882/03/11) reviewed ‘His trees, his meadows, his palisades, his land, are painted with that same severe reflection, which discolours even the cheeks of his women. On the other hand, the attitudes of his peasants and peasant women, the way they bend, sit, carry, are captured and rendered with a striking accuracy, a striking truth.'(R90I,p393).
J.-K. Huysmans (1883) reviewed ‘Sa Route de Pontoise à Auvers (no.102), son Soleil couchant (no.105), sa Vue de la prison de Pontoise (no.121), with their large skies with clouds of sheep and their sprays of trees so firmly attached to the ground, are counterparts of the magnificent landscapes (…). M. Pissarro has entirely freed himself from the memories of Millet; he paints his countrymen, without false grandeur, simply, as he sees them. His delicious girls in red stockings (no.114), his old woman in mermotte (no.107), his shepherdesses and his washerwomen (no.108), his peasant women having breakfast (no.111?) or making grass (no.110), are real little masterpieces.’ (R90I,p397).
Henry Robert (1882/03/05) reviewed ‘He wanted to interpret nature as he saw it and we must be grateful to him for having had the audacity to be one of the first to raise the flag of the present revolution.’ (R90I,p410).

1882 catalogue: (R2,p394;R90I,p377;iR1)

7IE-1882-101        Causerie, Étude
Moffett suggests CR530 in a private collection in Copenhagen, Berson follows and refers to the review of Hennequin, who just renders the title = CCP651. Now: 1881ca, CCP651, Peasant woman chatting, 35×27, private (iR10;iR48;R116). The CCP doesn’t give a suggestion and gives arguments against Moffett his choice and says it is not possible to identify this work exhibited. Still I will give Moffett his suggestion to compare.  

7IE-1882-102        Route de Pontoise à Auvers
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of Robert and Huysmans, who renders a general description ‘with their large skies with clouds of sheep and their sprays of trees so firmly attached to the ground’. The CCP suggests no.645. Now: 1881, CCP645, Côte du Valhermeil, Auvers-sur-Oise, 56×92, IM Jerusalem (iR2;R116).

7IE-1882-103        Étude de figure en plein air, temps gris
Moffett suggests CR541 in a private collection in Oslo, Berson follows = CCP654. The CCP also suggests no.654. Now: 1881, CCP654, Two young peasant girls chatting under Trees, 81×65, private (iR59;R116).

7IE-1882-104        Étude de figure en plein air, effet de soleil
Moffett suggests CR542 in the Toledo Museum of Art (R2,p407), Berson follows = CCP655. The CCP also suggests no.655. Now: 1881, CCP655, Peasant women Resting, 81×65, Toledo MA (iR2;iR59;R2,p407;R116)

7IE-1882-105        Paysage soleil couchant à Pontoise
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of de Biez (?; ‘of the peasants (..) pleasantly bathed by a soft reflection of the setting sun’; R90I,p380), Burty (Soleil couchant près de Pontoise by Sisley; ‘an equally sustained tone (like Corot)’, R90I,p382), Huysmans (Soleil couchant; ‘with their large skies with clouds of sheep and their sprays of trees so firmly attached to the ground’), Robert and Sallanches, who don’t describe this work. The CCP doesn’t give a suggestion. I render two uncertain options: CCP526, 1877, Landscape at Pontoise, sunset, 53×70, private (iR10;iR94;R116,CCP526;R2,p394), note: the peasants are missing; and: CCP541, 1878, Orchard at Pontoise, sunset, 46×55, WRM Cologne (iR10;iR94;R116,CCP541;R2,p394;M55), note: the sunset is not so obvious.

7IE-1882-106        Jardin potager à l’Hermitage
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. The CCP doesn’t give a suggestion. Note: the same title as 2IE-1876-206, for which I suggested CCP321 and 342. Compare also: 5IE-1880-134, Jardin potager, probably CCP607. I render 3 uncertain options: CCP644, 1881, Le jardin de Maubuisson, Pontoise, 60×74, A2009/02/03 (iR11;R116,CCP644;R2,p394); and: CCP598, 1879, Kitchen gardens at l’Hermitage, Pontoise, 54×65, A2010/06/18 (iR10;iR6;iR11;R116,CCP598;R2,p394); and: CCP696, 1882, Le jardin de Maubuisson, Pontoise, la mère Bellette, 54×65, A2013/11/05 (iR6;iR11;R116,CCP696;R2,p394).

7IE-1882-107        Laveuse, Étude
Moffett suggests CR513 in the Metropolitan (R2,p408), Berson follows = CCP640. The CCP also suggests no.640. Now: 1880, CCP640, Washerwoman Study (La Mère Larchevêque), 73×59, Metropolitan, (iR2;iR59;R2,p408;R116).

7IE-1882-108        Le berger et les laveuses
Moffett suggests CR535, Berson follows = CCP665. The CCP also suggests no.665. Now: 1881, CCP665, Shephard and women washing clothes at Montfoucault, 65×80, KM Giza Egypt (iR10;R116).

7IE-1882-109        Effet de neige
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of d’Alq, Durand, de Nivelle. The last one reviewed ’the inevitable icicles that are everywhere and don’t look any prouder.’ (R90I,p407). The CCP suggests no.669. Now: 1882, CCP669, Effect of snow with cows at Montfoucault, 46×55, A1999/05/12 (iR13;iR10;iR15;R116).

7IE-1882-110        Jeune fille faisant de l’herbe
Moffett suggests CR543 in a private collection in Oslo, Berson follows = CCP657. The CCP also suggests no.657. Now: 1881, CCP657, Peasant Woman Gathering Grass, 116×90, private (iR2;R116).

7IE-1882-111        Jeune paysanne prenant son café
Moffett suggests CR549 in the Art Institute in Chicago (R2,p409), Berson follows = CCP662. The CCP also suggests no.662. Now: 1881, CCP662, Café au lait (the breakfast), 64×54, AI Chicago, (iR2;iR59;R2,p409;R116).

7IE-1882-112        Les sarcleuses
Moffett suggests CR563 with a perhaps, Berson follows = CCP671. The CCP also suggests no.671. Now: 1882, CCP671, Peasant women weeding, Pontoise, 63×77, private (iR10;iR94;R116).

7IE-1882-113        La moisson
Note the same title as no.136 . Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of de Charry, who doesn’t describe this work. The CCP doesn’t give a suggestion. I render two uncertain options: CCP360, 1874, Harvesting potatoes, Pontoise, 33×41, private (iR10;iR94;aR1;iR6;R116,CCP360;R2,p394); and: CCP464, 1876, Haymaking at Montfoucault, 56×92, private (iR2;R116,CR464;R2,p394) Other expo’s: solo DR1888-75, Brussels 1889, XX1889-1.

7IE-1882-114        La bergère
Moffett suggests CR540 in Musée d’Orsay (R2,p372), Berson follows = CCP653. The CCP also suggests no.653.

7IE-1882-115        Chemin montant
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. The CCP doesn’t give a suggestion. I render two uncertain options: CCP473, Uphill road in the countryside near Pontoise, 46×55, A1963/04/24 (iR6;iR15;R116,CCP473;R2,p394); and: CCP666, 1881, The path to Les Pouilleux, Pontoise, 56×47, private (iR10;iR136;R116,CCP666;R2,p394); Durand-Ruel collection; note: the clibing path is not so clear.

7IE-1882-116        Sentier au bois d’Ennery
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of La Fare (Sentier au bois d’Emery). The CCP doesn’t give a suggestion. I render 3 uncertain options: 1879, Sentier dans les bois à Pontoise, 81×66, Axx (iR10;iR235;iR13;R2,p394); and: CCP521, 1877, Dans le bois de l’Hermitage, 55×46, A2016/05/13 (iR11;R116,CCP521;R2,p394); and: CCP594, 1879, Landscape at Pontoise, fields, 46×55, private (iR10;iR236;iR13;R116,CCP594;R2,p394). Another option of which I don’t have a picture is: CCP596, 1879, The path, countryside around Pontoise, 55×46, private (R116,CCP596).

7IE-1882-117        Paysanne et enfants revenant des champs
Moffett suggests CR564, Berson follows and refers to the review of Flor = CCP692. The CCP suggests no.649 and argues why the quite similar painting CCP692 was not exhibited. Now: 1881, CCP649, Peasant woman and child returning from the fields, Auvers, 46×55, NG Prague (iR10;iR6;R116).

7IE-1882-118        Jeune paysanne au chapeau
Moffett suggests CR548 in the National Gallery of Art in Washington (R2,p410), Berson follows = CCP661. The CCP also suggests no.661. Now 1881, CCP661, young peasant girl wearing a straw hat, 73×60, NGA Washington (iR2;iR59;R2,p410;R116).

7IE-1882-119        Paysanne bêchant la terre
Moffett suggests CR573 with a perhaps, Berson follows and refers to the review of de Charry, who doesn’t describe the work = CCP677. The CCP mentions this work was bought by Durand-Ruel 1882/05/30 so after the exposition. The CCP suggests no.646. Now: 1881, CCP646, Peasant woman digging (Jardin de Maubuisson), 46×55, private (iR10;iR94;R116).

7IE-1882-120        La gardeuse de chèvres
Moffett suggests CR546, Berson follows = CCP656. The CCP suggests no.656.

7IE-1882-121        Vue de la prison de Pontoise
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of Huysmans, who more in genereal reviewed ‘with their large skies with clouds of sheep and their sprays of trees so firmly attached to the ground’. The CCP suggests no.641. Now: 1881, CCP641, View of the new prison (peasant woman in a field), 40×26, private (iR10;iR64;R116).

7IE-1882-122        La conversation
Moffett refers to Isaacson (1980): the crisis of Impressionism and gives this number 123. He suggests CR544 in a private collection in Kobe, Berson follows = CCP658. The CCP probably follows this number (123) and renders CCP no.658. Now: 1881ca, CCP658,  The Conversation, 65×54, NMWA Tokyo (iR2;iR59;R116). Moffett and the CCP render 7IE-1882-122 as ‘Sentier sous-bois à l’Hermitage’, see 7IE-1882-136+hc1.

(7IE-1882-123       left out)
See 7IE-1882-122.

(7IE-1882-124       left out)
See 7IE-1882-136+hc2. 

7IE-1882-125        Vue de la nouvelle prison à Pontoise
Moffett suggests CR532, Berson follows = CCP643. The CCP suggests no.643. Now: 1881, CCP643, View of the new prison, Pontoise, Spring, 60×74, private (iR10;iR64;iR132;R116).

Gouaches:
(Note: the Critical Catalogue of paintings (=R116) doesn’t give suggestions.)

7IE-1882-126        Paysan bêchant de terre, gouache
Moffett suggests CR1349, Berson follows, adding: 1881, CR1349, Paysan béchant la terre, gouache, 25×20, xx (R90II,p209).

7IE-1882-127        Récolte de betteraves, gouache
Eng.: Beet harvest; Nl.: bietenoogst. Moffett doesn’t give a suggestion, nor does Berson; there were no reviews.

7IE-7IE-1882-128        Le marché des fossés, gouache
Eng.: The market for ditches; Nl.: de slotenmarkt. Probably ment is: the market on the (Boulevard des) Fossés. There were no review2s.  Moffett suggests CR1346 in a private collection in the USA, Berson follows, adding 1881, CR1346, Le Marché des fossés, gouache, 25×19, Hart collection USA. As a second option, I also render: 1882, Potato Market, Boulevard des Fosses, Pontoise, gouache, xx, private (iR2).

7IE-1882-129        Paysanne cousant, gouache
Eng.: Peasant woman sewing. Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. Compare: 1880-83ca, Paysanne tricotant (knitting), Pontoise, gouache, 54×36, A2015/06/03 (iR11;iR2;R2,p394).

7IE-1882-130        Marché aux légumes, gouache
Eng.: the vegetable market. Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. As an uncertain suggestion I render: 1883ca, The Market, gouache, xx, A2002/05/08 (iR2;iR11). 

7IE-1882-131        Marché à la volaille, gouache
Eng.: Poultry market. Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. Maybe: 1882, The Poultry Market, Pontois, pastel + gouache, 81×65, private (iR2).

7IE-1882-132        Les laveuses, gouache
Eng.: washer women. Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. Compare: CCP566, 1878, Women washing clothes on the banks of the Oise, Pontoise, oil, 32×41, A2020/02/06 (iR15;R116,CCP566;R2,p394) Compare: gouache, drawing and fan (=4IE-1879-191), that look quite the same (R116,p385).

7IE-1882-133        La récolte des haricots verts, gouache
Eng.: Harvesting green beans. Nl.: sperciebonen. Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of d’Alq and Durand, who don’t describe this work. Compare: 1887, Picking Peas, gouache, xx, private (iR2;R2,p394). Note: a similar drawing suggests that one of the women holds green beans in her hand. Compare also the fan exhibited as 4IE-1879-200, .

7IE-1882-134        Paysanne couchée sur l’herbe, gouache
Eng.: Peasant woman lying on the grass. Moffett suggests CR1351, Berson follows, adding 18xx, CR1351, La siesta, Hermitage, Pontoise, gouache, 23×29, xx (R90II,p210).

7IE-1882-135        La gardeuse de chèvres, gouache
Eng.: The (female) goat keeper. Compare: 7IE-1882-120, La gardeuse de chèvres. Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. Compare: 1882, Gardeuse de vache, côte des Grouettes, Pontoise, gouache, 46×38, A2010/02/04 (iR11;iR2;R2,p394)

7IE-1882-136        La moisson, détrempe
Eng.: the harvest. Note the same title as no. 113. Moffett suggests CR1358, Berson follows, adding 1882, CR1358, La moisson, tempera, 67×120, NMWA Tokyo  (iR10;iR6;iR59R126,CR1358;). Note: the work must be made in the summer of 1881, because the exposition was held in March 1882.

7IE-1882-136+hc1 Sentier sous-bois à l’Hermitage
Moffett refers to Isaacson (1980): the crisis of Impressionism and gives this number 122. He doesn’t give a suggestion for an actual work. The CCP also gives it no.122, but doesn’t give a suggestion, nor does Berson; there were no reviews. As an uncertain option I render: CCP522, 1877, Sous-bois à Pontoise, 55×46, A2021/12/17 (iR10;iR11;R116,CCP522;R2,p394) 

7IE-1882-136+hc2 Repos dans les bois
Moffett refers to Isaacson (1980): the crisis of Impressionism and gives this number 124, which is left out in the catalogue. Moffett suggests CR466, Berson follows = CCP573. The CCP also suggests for no.124 CCP no.573.

 

The eight ‘impressionist’ exposition 1886:

• catalogue numbers 93-113.
• no.102 also has a bis
• no. 107 contained of 6 pastels
• no. 110 + 112 + 113 contained of 2 etchings.
• so in total Pissarro exhibited 28 works, including 9 oil paintings (no.95-102bis); 4 gouaches (no.103-6); 7 pastels (no.107+8); 8 etchings (no.109-113)
  • 8x indication of place (3x Bazincourt; 4x Rouen; 1x Osny)
  • 9x indication of time, season or weather
  • 7x a study (all the pastels)
  • 0x loans (appartient à…),
• See for the suggestions of Moffett (R2,p445/6) and of Berson (R90II,p246-248+266-268); Moffett refers to the Catalogue Raisonné of Ludovic Pissarro and Lionello Venturi of 1939, referred to as CR (=R126). For the etchings Moffett refers to Delteil : Le peintre-graveur illustré (XIXe  siècle). Vol.17. Paris, 1923 (=R138).
• See for the suggestions of Volume I of the Critical Catalogue of Paintings of Joachim Pissarro & Claire Durand-Ruel Snollaerts of 2005, page 363 and the numbers of the CCP (=R116). The CCP only does suggestions for the oil paintings, so nothing for no.103-113.
• See link for the pictures.

reviews:
Marcel Fouquier (1886/05/16) reviewed ‘M. Pissarro proceeds by small, precise, separate touches, by juxtapositions that are both fine and penetrating in their frank tones. Up close, his paintings look like a collection of variously coloured nail heads. But with the proper distance, perspective is established, the planes deepen, and as the sky is treated with a deliberate lightness, the impression is created of a vast space and an indefinite horizon. ‘ (R90I,p448).

1886 catalogue: (R2,p405; iR1)

8IE-1886-95                Vue de ma fenêtre par temps gris
Moffett suggests CR721 in the Ashmolean museum in Oxford (R2,p461), Berson follows; there were reviews of Ajalbert and Darzens  (R90I,p246). = CCP825. The CCP also suggests no.825. Now: 1886-88, CCP825, View from My Window, Eragny-sur-Epte, 65×81, Ashmolean Oxford, (iR2;iR59;R2,p461). Pissarro reworked and dated this painting 1888.

8IE-1886-96                Prairies de Bazincourt, le matin
Moffett suggests CR664 = CCP792, Berson follows; there were reviews of Ajalbert, Fouquier and Geffroy (R90I,p247). The CCP also suggests no.792. Now: 1885, CCP792, Prairie à Éragny, pommier en fleur, 54×65, private (iR10;iR94;R116). 

8IE-1886-97                Coteaux de Bazincourt, l’après-midi
Moffett suggests CR698, Berson follows; there were reviews of Ajalbert, Fèvre and Geffroy (R90I,p247). = CCP821. The CCP also suggests no.821. Now: 1886, CCP821, View of the Hills at Bazincourt, afternoon, 54×65, private (iR10;iR94;R116).

8IE-1886-98                Poiriers en fleurs, matin
Moffett suggests CR697, Berson follows; there were reviews of Mirbeau and Labruyère (R90I,p247). = CCP823. The CCP also suggests no.823.

8IE-1886-99                Automne
Moffett doesn’t give a suggestion, nor does Berson who refers to the review of Ajalbert, who writes about ‘saddened by autumn. The CCP doesn’t give a suggestion. I render 3 uncertain options: CCP779, 1884, The path to Bazincourt, Autumn, 65×54, A1995/11/08 (iR10;iR7;iR14;R116,CCP779;R2,p445); and: CCP814, 1885, The hills at Gisors, overcast sky, 46×55, A1985/03/24 (iR10;iR6;R116,CCP814;R2,p445); and: CCP812, 1885, The meadow at Éragny, Autumn, 46×56, A2005/05/03 (iR10;iR7;iR14;R116,CCP812;R2,p445); this last one resemblance the view of no.96, but misses the sadness Ajalbert writes about.

8IE-1886-100             La cueillette de pommes
Moffett suggests CR695 in the Ohara Museum of Art in Kurashiki (R2,p462), Berson follows; there were many reviews (R90I,p247). =CCP824. The CCP also suggests no.824. Now: 1881-6, CCP824, Apple Picking, 125×125, OMA Kurashiki (iR2;iR59;R2,p462;R116).

8IE-1886-101             Marais de Bazincourt, en automne
Moffett suggests CR660, Berson follows; there as a review of Darzens (R90I,p247). = CCP813. The CCP also suggests no.813. Now: 1885, CCP813, The marsh at Éragny, 54×65, xx (iR10;iR94;R116). Compare: 1886, CCP820, Printemps à Éragny, 53×65, Memphis MA (iR10;iR94;R116).

8IE-1886-102             Plein soleil, paysage aux champs
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of Auriol, Darzens, Fèvre, Fouquier. The CCP suggests no.830, also referring to the reviews of Auriol and Fouquier, but they don’t give an detailed discription, so I will render this suggestion with a perhap: 1886, CCP830, Peasant women picking herbs, Éragny, 38×46, private (iR13;iR10;R116).

8IE-1886-102bis        Mère et enfant
Moffett suggests CR691 in a private collection in Paris, Berson follows; there were no reviews (R90I,p247). = CCP818. The CCP also suggests no.818. Now: 1886, CCP818, In the garden, mother and child, 39×32, private (iR10;iR94;R116). 

gouaches:
(Note: the Critical Catalogue of paintings (=R116) doesn’t give suggestions.)

8IE-1886-103, Vaches et paysannes (gouache)
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of Fèvre and maybe Fénénon, who don’t describe this work. Maybe?: 1886, Paysannes assises gardant des vaches, gouache, 28×39, A2014/02/06 (iR11;iR14;iR2;R2,p445); or: 1883, les gardeuses de vaches, gouache, 30×23, A2003/06/24 (iR11;iR2;R2,p445); or: 1884, La traite des vaches, Éragny (Milking cows), g+wc+p, 24×31, A2017/03/23 (iR11;iR2;R2,p445).

8IE-1886-104, Paysannes au soleil (gouache)
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of Labruyère, Mirbeau, Paulet and maybe Fénénon, all don’t describe this work. Maybe?: 1886, Three women cutting the grass, gouache, 32×42, A2015/06/23 (iR11;iR15;iR2;R2,p445).

8IE-1886-105, Gardeuse d’oies (gouache)
Moffett doesn’t give a suggestion. Berson suggests CR1407, Now: 1886, CR1407, Little Goose Girl, gouache, 26×36, A2012/02/08 (iR2;iR11;iR59;R2,p445;R126,CR1407); there were many contemporary reviews (R90II,p247). 

8IE-1886-106, Éventail, paysannes (gouache)
Moffett suggests with a perhaps CR1630 owned by John and Marcia Price in Salt Lake City (R2,p463), Berson follows; she refers to a review of Fénénon, which could also refer to no.103 (R90I,p247). Now: 1885, CR1630, Peasants Gathering Grasses, fan, gouache, 31×62, private (iR10;R2,p446+463;R126,CR1630;R90II,p247+268)

Pastels:
(Note: the Critical Catalogue of paintings (=R116) doesn’t give suggestions.)

8IE-1886-107, 6 Études de paysannes (pastel)
Moffett doesn’t give a suggestion. Berson leave them unidentified. Darzens writes about ’the peasant woman carrying a sheaf, and the one putting on her jacket’ (R90I,p438). Fénénon about ‘very beautiful pastels, mostly linear, where country girls stretch, dress, rest, eat and labour.’ (R90I,p444). Ajalbert about ’this woman putting her nightshirt back on’. (R90I,p247)
8IE-1886-107-1, femme qui remet son caraco;  Études de paysannes (pastel)
Compare: 1895-1900ca, Three studies of a woman dressing, pastel, xx, BM London (iR10;iRx;R2,p445;R90I,p247)
8IE-1886-107-2, Paysanne qui remet sa veste / country girl dressing; Études de paysannes (pastel)
Compare: 1882-83, Paysanne nouant son foulard (Peasant woman arranging her scarf), pastel, 60×45, Axx (iR10;iRx;iR64;R2,p445;R90I,p438+444); and: CCP679, 1882, Paysanne dans un champ, 88×48, Buenos Aires MNBA (iR204;R116,CCP679;R2,p445;R90I,p438+444;M114)
8IE-1886-107-3, Paysanne portant une gerbe / country girl carrying a sheaf;  Études de paysannes (pastel)
Maybe?: 1881-82, Two Peasant Women, pastel, xx, Harvard Cambridge (iR10;R2,p445;R90I,p438;M32)
8IE-1886-107-4, country girl stretching;  Études de paysannes (pastel)
Maybe?: 1880ca, Gardeuse de vache allongée sur un talus (Cowgirl reclining on a slope), pastel, 28×37, A2016/05/13 (iR11;iR2;iR204;R2,p445)
8IE-1886-107-5, country girl resting; Études de paysannes (pastel)
Maybe?: 1882ca, étude pour Les Sarcleuses, Pontoise, pastel + drawing, 47×62, A2011/11/02 (iR11;iR15;R2,p445); or: 1882-83ca, CR1561, Paysanne couchee dans l’herbe et dormant, pastel, 48×46, A2007/12/03 (iR15;iR10;aR1;R2,p445;R90I,p444;R126,CR1561). Compare: R116,CCP683.
8IE-1886-107-6, country girl eating; Études de paysannes (pastel)
Maybe: 1886ca, Seated Peasant Woman Crunching an Apple, pastel, xx, private (iR2;iR13;R2,p445)

8IE-1886-108, 1 Étude d’enfant (pastel)
Moffett doesn’t give a suggestion, nor does Berson; there were no reviews. Maybe??: 1872, Portrait of Jeanne-Rachel (Minette), pastel, xx, private (iR2;R2,p445).

Etchings:
(Note: the Critical Catalogue of paintings (=R116) doesn’t give suggestions.)

8IE-1886-109, Récolte de pommes de terre (eau-forte)
Moffett suggests Delteil no.63, Berson affirms. Now: 1886, D63+B48, Récolte de Pommes de Terres, etch ps, 28×22, NGA Washington (iR59;R138XVII,no63;R85XI,no48;R90II,p268;M21).

8IE-1886-110-1, Rue de l’Epicerie, à Rouen, (eau-forte)
Moffett suggests Delteil no.64, Berson affirms. Now: 1886, D64+B47, Rue de l’Epicerie, Rouen, etch ps, 16×14, A2017/06/10 (iR11;R138XVII,no64;R85XI,no47;R90II,p268).

8IE-1886-110-2, Rue Malpalue, à Rouen (eau-forte)
Moffett suggests Delteil no.53, Berson affirms. Now: 1885, D53+B42, La rue Malpalue, à Rouen, etch, 50×43, A2017/12/14 (iR11;R138XVII,no53;R85XI,no42;R90II,p268).

8IE-1886-111, Vaches et paysage (eau-forte)
Moffett suggests Delteil no.59, Berson affirms. Now: 1885, D59+B37, Prairie et moulin (à Osny), etch, 16×24, A2017/06/15 (iR11;R138XVII,no59;R85XI,no37;R90II,p268).

8IE-1886-112-1, Port de Rouen, effet de pluie (eau-forte)
Moffett suggests Delteil no.44 or 65, so does Berson. I think Delteil 65 is the same of Beraldi 46, titled ‘Place de la République à Rouen, avec tramway’. And Delteil no. 44 the same as Beraldi no. 38 titled ‘Effet de pluie, place de la République à Rouen’. The Place de la République at Rouen is near the Seine, but doesn’t border it. Still, Delteil 44 is one of the view etches depicting rain, so I think it is a good option. Delteil no. 65, doesn’t depict rain and prominently shows a tramway, so I don’t think it is a good suggestion.

8IE-1886-112-2, (et) paysage (eau-forte)
Moffett doesn’t discern 2 works, nor does Berson. As a very uncertain suggestion I render: 1885, D55+B26, Paysage à Rouen, Côte Sainte-Catherine, etch, 13×18, A2018/05/08 (iR11;R138XVII,no55;R85XI,no26)

8IE-1886-113-1, Paysage à Rouen (eau-forte)
Moffett suggests Delteil no.5o, so does Berson. Now: 1884, D50+B27, View of Rouen (Cours-la-reine), etch, 15×20, MFA Boston (iR59;iR10;iR163;R138XVII,no50;R85XI,no27;R90II,p269;M22)

8IE-1886-113-2, paysage à Osny (eau-forte)
Moffett suggests Delteil no.61 or 62. Berson only renders no.62, this is maybe Beraldi no. 40 ‘Église à Osny’, or no. 54 ‘Paysage à Osny’. Delteil no. 61 is titled ‘Paysanne dans les choux’, so it doesn’t seem a good suggestion.

 

 

Camille Pissarro at the Salon:
My main sources are the Salon database (=iR1) and the Critical Catalogue of Paintings (=CCP=R116). See link for the pictures.
The Salon database indicates that Pissarro was born at Saint-Thomas (Antilles), a Danish colony. (Also called a french colony).
Pissarro was a pupil of A. Melbye and Corot (iR1).
1864: Pissarro lived 57, rue de Vanves, Paris (iR1)
1865: Pissarro lived at La Varenne (iR1)
1866: Pissarro lived rue du Fond-de-l’Ermitage, Pontoise (iR1)
1868: Pissarro lived 108, boulevard Rochechouart, Paris (iR1)
1870: Louveciennes (Seine-et-Oise) (iR1)

Given correspondence addresses:
1865+66: M. Guillemet, 20, Grande-Rue, Paris (Batignolles)
1869: M. Carpentier, 8, boulevard Montmartre, Paris
1870: M. Marin, 52, rue Lafitte, Paris

S1859-2472, Paysage à Montmorency
Debut of Pissarro at the Salon with a view on Montmorency (near Pontoise) (R6,p40;R3). Almost certainly now: 1858ca, CCP37, Donkey in front of a farm, Montmorency, 22×27, Orsay (R116) (this was not in the CR of 1939). Note: signed as ‘C. Pizarro’. Two critics positively mention the work (R116,I,p111).

SdR1863-468, Paysage
A very uncertain suggestion: 1862, CCP57, donkeys at pasture, 32×75, A2015/11/13 (iR2;iR11;R116) = CR19.

SdR1863-469, Etude
A very uncertain suggestion: 1862, CCP59, white horse and tipcart, 24×33, private (iR2;R116) =CR21.

SdR1863-470, Village
A very uncertain suggestion: 1863, CCP70, village corner, women chatting, 40×52, A2002/11/06 (iR2;iR14;R116) =CR27.

S1864- 1558, Bords de la Marne
Now: 1864, CCP90, Banks of the Marne, 82×108 AGM Glasgow (iR2;R116) (this was not in the CR of 1939) .

S1864- 1559, Route de Cachalas, à La Ruche-Guyon
Probably ment to be: Route de Clachalôze à La Roche-Guyon, see map. Maybe: 1862, CCP55, Promenade sur un chemin (La Roche Guyon), 37×28, private (R116) (this was not in the CR of 1939). Compare: 1865ca, CCP105, Donkey ride at La Roche-Guyon, 37×52, private (iR2;R116) =CR45.

S1865-1723, Chennevières, au bord de la Marne
Now: 1865ca, CCP103, Banks of the Marne at Chennevières, 92×146, SNG Edinburgh (iR2;R116) =CR46.

S1865-1724, Le bord de l’eau
A very uncertain option: 1863-5ca, CCP80, River bank and Barge (at le Roche-Guyon), 10×19 (or 46×72), A2000/06/27 (or MCP Pontoise) (iR112;iR2;iR15;R116) (this was not in the CR of 1939).

S1866- 1564, Bords de la Marne en hiver
Now: 1866, CCP107, banks of the Marne in winter, 92×150, AI Chicago (iR2;R116) =CR47.

S1868-2015, La côte de Jallais
Now: 1867, CCP116, Côte des Jalais, Pontoise, 87×115, Metropolitan = CR55. Compare: 1867ca, CCP120, View of the L’Hermitage, Côte des Gratte-Coqs, 70×100, Unicef Cologne. This view was seen from the Rue de la Côte-du-Jalet (now: Rue Victor-Hugo). Maybe ‘Jallais’ and ‘Jalet’ are the same.

S1868-2016, L’hermitage
Now: 1867ca, CCP115, Le Jardin de Maubuisson, Pontoise (The Gardens of l’Hermitage), 82×100, NGP Prague (iR2;R116) =CR52.

S1869-1950, L’ermitage
An uncertain suggestion: 1867ca, CCP121, The hills at L’Hermitage, Pontoise, 151×206, Guggenheim NY (iR112;iR2;R116) =CR58.

S1870-2290, Automne
Likely: 1870, CCP157, Houses at Bougival (landscape at Louveciennes), 89×116, PGM Los Angeles (iR2;R116) = CR87.

S1870-2291, Paysage
A very uncertain suggestion: 1869ca, CCP136, Louveciennes, the brook at Montbuisson, 46×56, private (iR2;R116) (this was not in the CR of 1939).

Camille Pissarro at regional exhibitions:
Pissarro also exhibited at the following regional exhibitions.
1862: in Toulouse (iR1).
1862: Rouen (R116I,p361)
1866/03/24: Bordeaux (R116I,p361)
1866/07/22: in Lille (R248;R116I,p361)
1868/07/02 – 11/15: in Le Havre (R116I,p361)
1872/03/31 – 05/15: in Rouen (R116I,p361)
1873/02/15 – 03/23: in Rheims (R116I,p361)
1874/02/07 – 03/23: in Rheims (R116I,p362)
1876: in Carcassonne (iR1).
1876/01/06 – 03/06: in Pau (R116I,p362)
1877/01/08 – 03/08: in Pau (R116I,p362)
1878/01/15 – 03/15: in Pau (R116I,p362)
1882/09 – 1882/10: in Tours (R116I,p362)
1884/05/31 – 07/15: in Nancy (R116I,p362/3)
1886/10/10 – 1887/01/15: in Nantes (R116I,p363)

 

Recommanded citation: “Camille Pissarro, an account of his exhibited works. Last modified 2022/01/02. https://www.impressionism.nl/pissarro-account/”