Raffaëlli, Jean-François, account

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Jean-François Raffaëlli (1850-1924)

Account

 

INTRODUCTION:

Her below you’ll find an extensive account of the works Jean-François Raffaëlli has exhibited with the Impressionists in  1880 + 1881. In the rendering of reviews I will concentrate on the works exhibited, when it is not (fully) clear what work it was. Often I will render several options. I also render a more rough account on the art-works Raffaëlli exhibited at the Salon and other exhibitions: At the Salon from 1870-79, the SdAF from 1882-1889, his solo exhibition in 1884, the XX in 1885, at the SNBA 1891 onwards and I mention some other exhibitions. My main sources are Moffett (1986=R2), Berson (1996=R90I=reviews + II=exhibited works), Beraldi  (1891=aR1=R85XI), Delteil  (1923=aR2=R138XVI), the catalogue of his solo exhibition (1884=aR14=iR40), Alexandre (1909=aR7=iR226), Joconde (aR4=iR23).  For other references / sources see at the bottom of the main page on Jean-François Raffaëlli.

 

The fifth ‘impressionist’ exposition 1880:

  • catalogue numbers 144-179 =35x; Raffaëlli probably exhibited 1 work hc; no. 166 depicts 4 works, no 167 three works and 164 more than one, so at least 2; so in total Raffaëlli probably exhibited at least 42 works.
  • 28x figure painting: no.144+145+147+149+150+151+152+155+156+157+158+159+160+161+162+163+166-1+166-4+167+169+170+171+172+174+175+177+178+179+hc ; including chiffonnier (=ragpicker; no. 158+161+163+167+171), balayeur (=sweeper; no. 156+162+172), Mayor and City Councillor (no150+175), young woman (no.149+151), 
  • 10x landscapes: no.146+153+154+165+166-2+166-3+168+173+176+179; depicting a road (no.153+154+157+173+174+176); depicting (city) walls (no. 154+161+166-2)
  • 1x interieur: no.148
  • >9x etchings: no. 164 (>1) +166 (=4) +167 (probably 3); in total at least 9 works
  • 3x pastels: no. 153+159+165
  • 7x watercolours: no. 147+152+158+161+168+171+179
  • 2x mixed pastel / watercoulour: no. 155+157
  • 1x drawing: no. 175
  • probably the other works are oil paintings:
  • So in total Jean-François Raffaëlli exhibited at least 42 works, including 7 watercolours, 3 pastels, 2 mixed watercolours+pastels, 1 drawing and at least 9 engravings.
    • 9x indication of place, including 2x Argenteuil  (no.153+157) and 2x Paris (no. 166-2+177)
    • 4x indication of time, season or weather; depicting snow (no.154+165)
    • 2x a study
    • 14x loans (appartient à…), M. Jules Claretie (no.172), M. Doucet (no.152), Mme Durand (no.145); M. Duranty (no.175), M. Heilbuth (no.162+163), M. J.K. Huysmans (no.154), M. Levallois (no.148), M. Massé (no.177), M. E. May (no.163), Mlle C.S. (no.178), M. Salomon (no.150), M. S. T. (no.169), M. Taigny (no.156). 
  • See for the suggestions of Moffett (R2,p313), of Berson (R90II,p154-6+171-3), Delteil (R138XVI)

 

1880 catalogue: (R2,p313;R90I,p262;iR1)

5IE-1880-144        Deux vieux
Eng.: two old people. Moffett suggests that it was illustrated in Gazette des Beaux-Arts (1880/05/01). Berson depicts it (R90I,p321). According to Berson also exhibited at the Salon of 1879 (R90II,p154;R90I,p298;aR7), which was also exhibited as se1884-19, Les deux vieux; Salon de 1879 (aR14). I render the work depicted by Berson (R90II,p171), the drawing from the Gazette des Beaux-Arts (R90I,p321) and to compare I also render: 1879, Les deux chiffonniers, oil, 12×18, A2018/06/20 (iR100;iR14;iRx). 

5IE-1880-145        Profil d’enfant; appartient à Mme. Durand
Eng.: profile of a child. Nor Moffett, nor Berson gives a suggestion. Berson renders contemporary reviews. Ephrussi (1880/05/01) ‘wearing a delicious hat’ (R90I,p279). Huysmans (1883) ‘an enchanting head of a little girl playing, all pink, on a range of bleak grey and sulphur yellow, ‘ (R90I,p289). De Mont. (1880/04/20) ‘his small child profile is very graceful’ (R90I,p302). Trianon (1880/04/08) reviews ‘a very delicate portrait of an elegant little girl that could be in a keepsake;’ (R90I,p313). The meaning of ‘keepsake’ is not known to me. As an uncertain suggestion I render: 18xx, La petite fille, 45×45, A2020/03/13 (aR10;iR85;iR10). 

5IE-1880-146        Terrains remblayés de démolitions
Eng.: Land backfilled with demolitions. Nl: opgehoogt terrein met afbraakwerkzaamheden. Nor Moffett, nor Berson gives a suggestion. There are no contemporary reviews. I render two uncertain options: 18xx, En Hiver, le cantonnier (The roadmender, winter), on panel, 52×72, A2014/12/09 (iR15;iR2,p313); compare: 5IE-1880-172; and: Maybe?: 1880-90, faubourgs parisiens (The outskirts of Paris), xx, NLm Hannover (iR204;aR11;iR35;iR6;R2,p313);  compare 6IE-1881-95.

5IE-1880-147        Rôdeur de barrières, aquarelle
Eng.: ‘barrières’ means barriers or fence or gate. ‘Rôdeur’ means tramp / homeless person / drifter / wanderer. Nor Moffett, nor Berson gives a suggestion. Berson renders contemporary reviews, but these reviews don’t give a description of the work (R90I,p265-319). To compare I render an oil painting with a stroller walking along fences, a work probably made a bit later: 1881ca, A stroller and his dog, on panel, 54×37, A2016/12/04 (iR10;iR13). This work is also an option for 6IE-1881-96.

5IE-1880-148        Salon d’attente d’un dentiste; appartient à M. Levallois
Eng.: waiting room for a dentist. Now: 1878, At the dentist, on panel, 14×22, CM Utrecht (iR6;iR10;R90II,p171). Bertall (1880/04/07) reviews that it is a ‘very small’ work (R90I,p269). Also exhibited in 1884: 38bis Chez le Dentiste ; appartient à M. E. Levallois (aR14).

5IE-1880-149        Jeune femme pensive après la lecture d’une lettre
Eng.: Pensive young woman after reading a letter. To compare Berson renders an etch probably made after this painting: 1898, D47, La lettre, etch, 41×31, xx (R90II,p171;R138XVI,no47), I will render this etch. There are no reviews. As an uncertain suggestion I also render: 1880ca, Woman in a White Dressing Gown (La Toilette), xx, Frick Pittsburgh (iR8;iR10;iR114). It looks like on the table, apart from a white mirror, there lies a lettre. 

5IE-1880-150        Maire et conseiller municipal; appartient à M. Salomon
Eng.: Mayor and City Councillor. Moffett suggests: =1879ca, Mayor and town counselor, 54×73, private (R2,p331) Berson affirms (R90II,p172). See also the drawing he made of this work, exhibited as no.175. Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59).

5IE-1880-151        Jeune femme hésitant avant d’entrer dans le bain
Eng.: Young woman hesitating before getting into the bath. Nor Moffett, nor Berson gives a suggestion. Also exhibited in his solo exhibition in 1884, no.63 (R90II,p154;aR14,p12). Berson renders contemporary reviews. Bertall (1880/04/07) reviews ‘We report a woman who goes to bathe in a bathtub and needs it. It is undoubtedly a charcoal maker, if the elegance of its forms is anything to go by, and their colour, but it is very thorough in terms of work and execution.’  (R90I,p269). Esmond (1880/05/02) reviews ‘a little woman hesitating in front of a bathtub, and displays her fine miniature in its limited size frame. Here and there lies a mixture of skirts and boots, reminiscent of Mr. Gervex’s Rolla.’ (R90I,p279). Mantz (1880/04/14) reviews ‘In a modern interior, he introduces a small naked woman hesitating in front of the bathtub that awaits her. If, behind a curtain, one could see the head of a curious abbot pass by, it would be a Baudouin or Lavreince subject. The painter only wanted to see an anecdotal motif, which he finely miniaturised.’  (R90I,p298). To compare I render a work that seems to be a bit larger, which doesn’t depict skirts and boots and the woman is still dressed. But she also seems to be a bit hesitant before taking her bath: 18xx, Femme à sa toilette (young woman about to do her washing), oil+pastel, 47×31, A2012/11/08 (iR11;iR14;iR2;iR204). 

5IE-1880-152        Homme tenant un sac à charbon ; aquarelle; appartient à M. Doucet
Eng.: Man holding a coal bag. Nor Moffett, nor Berson gives a suggestion. Berson renders contemporary reviews of Mantz, who renders no description and Huysmans (1883), who reviews (probably also referring to this number) ‘the very exhausted ragpickers, who are picking up trash or carrying bags;’ (R90I,p288). To compare I render: 1879, le chiffonnier, ink+wc on panel, 82×60, A2001/11/01 (iR204;iR11;iR6;iR10;R2,p313;R90II,p154). This work is also a watercolour, but the man doesn’t seem to hold a coal bag. This work is also an option for S1879-4444 and 5IE-1880-161. To compare I also render an oil painting of a man holding a heavy bag, maybe a coal bag: 1879, Le Chiffonier, on board, 82×60, Axx (iR13;iR10;R2,p313;R90II,p155).

5IE-1880-153        Le mouvement, dans la route d’Argenteuil ; pastel
Eng.: The motion, in the road to Argenteuil. Nor Moffett, nor Berson gives a suggestion. There are no contemporary reviews. To give an impression I render a pastel with a man walking in a landscape: 18xx, landscape with a peasant on the road, pastel, 42×58, A2007/06/19 (iR204;iR14;iR11). The title also could refer to a street scene. So to compare I also render: 1880-90, a street in Asnières, on panel, 55×46, A2019/03/29 (iR15;R2,p313).

5IE-1880-154        La route, hors les murs des fortifications, par la neige; appartient à M. Huysmans
Eng.: The road, outside the walls of the fortifications, through the snow. Nor Moffett, nor Berson gives a suggestion. Berson renders a contemporary review of Huysmans, who also lent this work in 1884 to the solo exhibition (no.153)  a work titled ‘La Route de la Révolte, par la neige’, which maybe is the same (R90II,p154;aR14,p17). Huysmans (1883) reviews ‘Mr. Raffaëlli who fortunately cares little for the distinguished and noble nature, understood what kind of personal accent he could give with the commonplace surroundings of Paris and, in addition to its plain of Gennevilliers, it also has a superb view of the Route de la Révolte, in snowy weather.’ (R90I,p288).  Note: Huysmans shortly refers to no. 173  ‘La plaine de Gennevilliers’. Raffaëlli depicted several times the ‘route’ and the ‘place de la Révolte’, one time located in Neuilly. One work has the alternative title ‘a lively square in Gennevilliers’. Nowadays there is a ‘route de la révolte’ in Saint-Denis, see map, which is not far away from Gennevilliers and Neuilly. I could not find a ‘route de la révolte’ in winter. To compare I render two works: 18xx, Les fortifications de Paris, on panel, 55×32, A2009/07/08 (iR15;iR11;R2,p313;R90II,p155); compare 6IE-1881-93; and: 1xxx, Snowy landscape, 80×64, A2016/06/15 (iR13;iR11;R2,p313;R90II,p155; note: this work is also an option for 5IE-1880-168). 
The ‘fortifications‘ were “created by the July monarchy as a defensive system of fortifications surrounding Paris, and itself surrounded by a wide ditch and a 250 metre open firing zone, the fortifications were eventually demolished in 1919” (iR15) or otherwise described “The squalid terrain of the fortifications, a no-man’s land on the edge of Paris, made up of the ruins of the old city walls” (iR15;aR7,p67/8).

5IE-1880-155        Tête d’Auvergnat ; aquarelle et pastel
Eng.: Head of someone from the Auvergne. Nor Moffett, nor Berson gives a suggestion. Berson renders two contemporary reviews, but they don’t describe this work, that probably also was auctioned at Hôtel Drouot in 1881/01/28 (R90II,p154). To compare I render a pastel portrait: 1872, Portrait d’homme, pastel, 44×37, A2009/06/24 (iR13;iR17;R2,p313;R90II,p154) and also a recent photo of a man from the Auvergne wearing traditional clothing . The Auvergne is a former region in the middle of France with Clermont-Ferrand as capital (iR9;iR). Note that Raffaëlli was born in Lyon which lies about 150km to the east.

5IE-1880-156        Balayeur, paysage des environs de Nice; appartient à M. Taigny
Eng.: Sweeper, landscape around Nice. Nor Moffett, nor Berson gives a suggestion. Berson renders a contemporary review of Véron who only mentions the title (R90I,p317). Maybe now: 1879ca, The sweeper, on panel, 26×35, Axx (iRx;iR10;iR13). 

5IE-1880-157        Marchand d’habits sur la route d’Argenteuil (aquarelle et pastel)
Eng.: Clothes merchant on the road to Argenteuil. Nor Moffett, nor Berson gives a suggestion. Berson renders contemporary reviews. Tout Paris (1880/04/02) doesn’t give a description. Flor (1880/04/16) reviews ‘a very good watercolour ‘Le Marchand d’habits’ which is one of the best pieces in this exhibition.’  (R90I,p280/1). Maybe the same work as: SNBA-1893-860, Le Marchand d’habits (iR1) and as se1884-9, Marchand d’habits ; appartient à M. Hayem. I render a work titled ‘chiffonnier’, but it is the same image as Delteil no.24 (but larger): 18xx, Le marchand des habits (Le Chiffonnier), on panel, 24×10, A2012/04/23 (iR15;iR11;R138XVI,no24;R2,p313;R90II,p154); but probably this work is an oil painting. To compare I also render the etch done after this work: 1895, D24, Le marchand des habits, etch, 14×9, xx (R138XVI,no24). 

5IE-1880-158        Chiffonnier éreinté ; aquarelle
Eng.: Weary ragpicker. See his etchings with the same title = 5IE-1880-167. Nor Moffett, nor Berson gives a suggestion. Berson renders contemporary reviews. Ephrussi, Fouquier and Mantz don’t describe the work. Huysmans (1883), who reviews (probably also referring to this number) ‘the very exhausted ragpickers, who are picking up trash or carrying bags;’ (R90I,p288). 

5IE-1880-159        Tête de vieille femme; pastel
Eng.: head of an old woman. Nor Moffett, nor Berson gives a suggestion. Berson renders a contemporary review of Huysmans (1883): ‘a portrait of an old woman, a pastel of a terrible character’ (R90I,p289).  To compare I render: 1882-85ca, La Goulue (Louise Weber), oil, 35×26, MBA Dijon (iR6;iR10;iR224;Mx). Goulu means: Nl.: slokop / veelvraat; Eng.: slughead / gobbler / glutton / greedy. 

5IE-1880-160        Bonhomme tirant une brouette
Eng.: Man pulling a wheelbarrow; Nl. kruiwagen. Nor Moffett, nor Berson gives a suggestion. Berson renders a contemporary review of Véron, who only mentions the title (R90I,p317). To compare I render: 1xxx, Cityscape street scene, 45×53, A2019/08/18 (iR17;iR10;R2,p313;R90II,p154), a probably later work depicting a man pulling a card. Compare also a work of Millet, 1848-52, Peasant with Wheelbarrow, 54×38, Indianapolis (iRx;R2,p313;R90II,p154), who renders a man pushing a wheelbarrow.

5IE-1880-161        Chiffonnier hors les murs ; aquarelle; appartient à M. May
Eng.: ragpicker outside the wals, watercolour. Moffett doesn’t render a suggestion. Berson suggests: 1879, (The vagebond) On the road, 56×38, GM Beverly Hills (iR10;iR155;R90II,p172). But the work she depicts is an oil painting and not a watercolour, it is also a reverse image of an known painting, so maybe her image is an etch. I render this one and the painting: 1879, (The vagebond) On the road, 56×38, GM Beverly Hills (iR155;iR10;R90II,p172;R2,p313); but it is unclear if this is an oil painting or a watercolour. This work I also suggest for 6IE-1881-100.

5IE-1880-162        Type de balayeur; appartient à M. Heilbuth
Eng.: Type of a sweeper. Nor Moffett, nor Berson gives a suggestion. Berson renders contemporary reviews of Baignères and Véron who don’t describe the work. It was probably soled at George Petit 1890/05/19 as number 315 and sized 20×9 (R90II,p154). To compare I render the drawing ‘Balayeur (after Raffaëlli)’ in La Vie Moderne 1880/04/24 (R90I,p321). 

5IE-1880-163        Type de chiffonnier; appartient à M. Heilbuth
Eng.: Type of ragpicker. Moffett doesn’t give a suggestion. Baignères doesn’t describe the work (R90I,p266). It was probably soled at George Petit 1890/05/19 as number 314 and sized 20×9 (R90II,p154). Berson suggests: 18xx, Le Chiffonnier, oil, 21×9, A1971/12/20 (R90II,p172). But maybe this work is a better option: 1879, The Rag Picker, 21×9, MBA Reims (iR2;iR10), the same work drawn as ‘Chiffonier (after Raffaëlli)’ in La Vie Moderne 1880/04/24 (R90I,p321;R2,p313). I render all 3 works.

5IE-1880-164        Eaux-fortes et pointe sèche,
Maybe the title meant that he exhibited at least 2 etchings and 1 dry point etch. Probably they were meant to be part of the journal ‘Le jour en la nuit’, which would not be published (R5,p116). Nor Moffett, nor Berson gives a suggestion. There are no contemporary reviews. The most etchings of Raffaëlli are dated later. I render some ‘heads’. Beraldi renders 4 works together: B3. Tête de fille; B4. Bonhomme; 5. Tête de chiffonnier; 6. Tête de jeune femme (R85XI,p58). Beraldi no.3 is maybe the same as: 1882ca, D4, Tête de fille (or: Femme de Maison), etch, 15×11, Delteil (R138XVI,no4;aR7); we can find this same head in a painting called ‘La forte chanteuse’. Beraldi no. 5 is probably the same as Delteil no. 5, which is dated by Delteil 1884, still I will render it as a possibility or just to compare: 1884, D5, Head of a Ragpicker, ps, 12×9, CAI Williamstown (Mx;iR10;iR40;R138XVI,no5). Beraldi no. 6 is maybe the same as Delteil no.1, which had also been titled as ‘Tête de femme’: 1876, D1-2, Mme J.F. Raffaëlli (tête de femme), 12×9, xx (R138XVI,no1). I don’t have a suggestion for Beraldi no.4 ‘Bonhomme’. Another early etch is: 1877, D2-2, Boulevard des filles-du-Calvaire (Boulevards des Capucines), etch ps, 12×9, Delteil (R138XVI,no2;R85XI,no); compare se1884-122. 

5IE-1880-165        Plaine couverte de neige (pastel)
Eng.: Plain covered with snow. Nor Moffett, nor Berson gives a suggestion. There are no contemporary reviews. To compare I render 3 oil paintings: 1xxx, Snowy Landscape, oil on panel, 62×75, KMM Otterlo (iR2;Mx;R2,p313); compare: 5IE-1880-154; and: 1xxx, Village, surroundings of Paris, 22×47, A2008/10/28 (iR11;iR14;R2,p313); and: 18xx, Winter landscape, 25×35, private (iR10;iR116;R2,p313); compare: Delteil 78, La cabane du chiffonnier (R138XVI,no78).

5IE-1880-166        Quatre eaux-fortes pour le livre ; croquis naturalistes de J. K. Huysmans
There was a book of Huysmans published in 1880 called ‘croquis parisiens’, with 4 etchings of Raffaëlli and 4 of Forain (aR9). Moffett renders the titles of these four etchings (R2,p313). There are no contemporary reviews of these works (R90I,p265-319). Note: probably also exhibited as se1884-149, Quatre eaux-fortes illustrant: Croquis Parisiens, de J.-K. Huysmans (aR14,p17). Also mentioned by Beraldi under number 7-10 (aR1=R85XI,p58). Probably also exhibited as se1884-22 (aR14,p8).
5IE-1880-166-1 Le marchand de marrons
Eng.: The chestnut merchant. Moffett suggests Delteil 137, who indicates the 2nd state was published in ‘les Croquis Parisiens of Huysmans’ (R138XVI,no137). Berson affirms (R90II,p155). 
5IE-1880-166-2 Les remparts du nord de Paris
Eng.: The ramparts (the city walls) in the north of Paris. Moffett suggests Delteil 138, who indicates the 3rd state was published in ‘les Croquis Parisiens of Huysmans’. Berson affirms (R90II,p155). The picture that Delteil, Berson and Alexandre depicts shows a man walking with his two dogs along a stream in the country, in the distance there are chimneys with smoke. (R138XVI,no138;R90II,px;aR7,px). I would think this better depicts ‘La Bièvre’. See below. 
5IE-1880-166-3 La bièvre
Eng.: The Bièvre is a river streaming from Guyancourt (about 25km west of Paris) and streams in the Seine in Paris, near the Austerlitz station (nowadays underground) (iR5;iR9). Moffett suggests Delteil 139, who confirms this suggestion and indicates the 3rd state was published in ‘les Croquis Parisiens of Huysmans’ (R138XVI,no139). Berson affirms (R90II,p155). In the etch we see a man and his carriadge on a hill, which is bordered by a fence. To the left we see the suburbs of Paris. (R138XVI,no139). I think this picture better depicts ‘les remparts du nord de Paris’. But when I read in ‘croquis parisien’ of Huysmans, he writes about le Panthéon and about ‘the hillsides overlooking the Bièvre’ (aR9,p56). This pleads again for the work depicted by Delteil and others, so I will follow them.
5IE-1880-166-4 Les maigres repas
Eng.: The meager meals. Moffett suggests Delteil 140. Delteil also calls it ‘les restaurants à bon marché and indicates the 1st state was published in ‘les Croquis Parisiens of Huysmans’ (R138XVI,no140). Berson affirms (R90II,p155).

5IE-1880-167        États successifs d’une eau-forte de mon (Chiffonnier éreinté)
Eng.: Successive states of an etching of mine (exhausted ragpicker). See 5IE-1880-158 with the same title. Moffett suggests Delteil 3. Berson affirms and renders 1 of 3 states (R90II,p155). Delteil describes 3 states, the last one published in 1889 and being smaller (R138XVI,no3). Does this mean this 3rd state had not yet been made in 1880? In the notes that are visable in the BNF version (=aR2=iR40) of Delteil a 4th state is mentioned, which should be in the New York Public Library. But there I can’t find any version of this work (iR61=aR5). I assume the term ‘états successifs’ suggests at least 3 states, I don’t think you describe 2 states in that way. Note: probably also exhibited as se1884-148, Chiffonnier éreinté, eau-forte. Trois états (aR14,p17). Beraldi mentions that this etch was ment to be part of ‘Le Jour et la Nuit’ publication (aR2,p57).
5IE-1880-167-1        1 er État Chiffonnier éreinté
The 1st state depicts the following description ‘J F RAFFAELLI 80’ below the bag and is not softened. I could not find a picture of this very rare state.
5IE-1880-167-2        2e État Chiffonnier éreinté
Second state rendered by Delteil (R138XVI,no3).
5IE-1880-167-3        3e État Chiffonnier éreinté
This 3rd state is smaller and published in 1889.

5IE-1880-168        Par de la brume et du vent, ; étude à l’aquarelle
Eng.: Through fog and wind. Nor Moffett, nor Berson gives a suggestion. There are no contemporary reviews. To compare I render two oil paintings with the same theme: Compare: 1xxx, les environs de Paris, sous la neige, 33×46, A2000/04/06 (iR11;R2,p313); and: 1xxx, Paysanne avec chiens près d’une maison (Banlieu de Paris), 30×40, A2011/06/21 (iR11;R2,p313).

5IE-1880-169        L’allumeur de quinquets de Sorrente, Italie; appartient à M. S.T.
Eng.: The quinquet lighter from Sorrento, Italy. Note: a quinquet is a sort of oil lamp. Nor Moffett, nor Berson gives a suggestion. There are no contemporary reviews. Probably made during his Italien trip. I have no picture that comes near.

5IE-1880-170        Homme portant deux pains
Eng.: Man quarrying two breads. Moffett doesn’t give a suggestion. Japy mentions this work as ‘Voleurs de pain’ (bread thieves) (R90I,p294), but he nor Silvestre describe the work. Berson suggests: 1879, Man carrying bread (Voleurs de pain), oil, 46×33, A2006/10/24 (iR11;R90II,p173). I follow, but also render a second option: 1879, Man with two loaves of bread, 43×32, MBA Sint-Petersburgh (iR6;iR104;iR10;Mx), a work probably made after Les Miserables of Victor Hugo and according to the museum maybe exhibited at this exposition. Compare also: se1884-17, Homme venant de voler un paint ; appartient à M. Ch. -L. Heude.

5IE-1880-171        Chiffonnière ; Aquarelle   
I could not find a picture of a woman rag picker. Nor Moffett, nor Berson gives a suggestion. Berson renders a contemporary review of Flor (1880/04/16): who only mentions the title (R90I,p280). But he also mentions another title ‘l’Homme en blouse’ (the Man in a blouse). I can’t discern to what catalogue number it refers, so I assume it was exhibited outside the catalogue, see 5IE-1880-179+hc3. To compare I render an oil painting depicting a chiffonnière: 18xx, Woman in a wasteland (a Gypsy), xx, private (iR204;iR2;iR122;R2,p313;R90II,p155); this work is also a possibility for 6IE-1881-95. 

5IE-1880-172        Balayeur souffrant du froid; appartient à M. Jules Claretie
Eng.: Sweeper suffering from cold. Moffett doesn’t give a suggestion. Berson suggests it maybe the same as: 18xx, Un Balayeur (dans un paysage d’hiver, il est réprésenté le balai, à la main, les oreilles couvertes d’un mouchoir; Eng.: in a winter landscape, he is represented with a broom in his hand, his ears covered with a handkerchief), 22×9, A1914/05/08 (R90II,p155). Berson doesn’t render an image. The contemporary reviews don’t render a description. To compare I render 3 pictures that partly resemble the extended title: 18xx, Le vieux balayeur (the old sweeper), pastel, 71×36, A2014/10/07 (iR15;iR11;R2,p313;R90II,p155); and: 1890ca, The Pedlar, 25×21, KMM Otterlo (iR10;Mx;iR2;R2,p313;R90II,p155); and: 1879 (or1884), A ragman lighting his pipe, 77×59, MBA Nantes (Orsay) (iR204;iR23;iR6;iR2;iR10;iR22;R2,p313;R90II,p155), compare this work with 5IE-1880-179+hc1.

5IE-1880-173        La plaine de Gennevilliers
Eng.: The plain of Gennevilliers (also: open space, so maybe also a square). Nor Moffett, nor Berson gives a suggestion. Berson renders a contemporary review of Huysmans, who only shortly mentions it in connection with no.154 and later describes it ‘I don’t know of any landscape more just than this one, just as I don’t know of any more painful, more pitiful, more grandiose than this view of Gennevilliers that I mentioned earlier.’ (R90I,p288). Maybe the same as se1884-128, La plaine de Gennevilliers, au Printemps (aR14,p16). To compare I render two works: 1xxx, la plaine Saint-Denis, 66×87, A2011/06/21 (iR11;R2,p313;R90II,p155); and: 1905, D64-2, Le Village sur la Colline, colour etch ps, 21×28, A2006/05/04 (iR11;iR40;R138XVI,no64;aR7), a work exhibited at the SNBA in 1905.

5IE-1880-174        Type de cantonnier
Eng.: Road-mender type. Nor Moffett, nor Berson gives a suggestion. Berson renders contemporary reviews, but they don’t describe the work. As an uncertain option I render: 1xxx, Le coq du cantonnier, xx, A2002/04/24 (iR11;R2,p313;R90II,p185). This model is probably also rendered in Delteil 92 (aR2), by Alexandre (aR7,p62+) and for no179+hc1.

5IE-1880-175        Dessin de mon tableau, Maire et Conseiller municipal; appartient à M. Duranty
Eng.: Drawing of my painting, Mayor and City Councillor. See 5IE-1880-150. Reproduced in Les Beaux-Arts illustrés, supplement to no.11 (1879): 84-85. Auctioned 1881/01/28 in Paris, Hôtel Drouot. Present location unknown. (R90II,p155). De Mont. (1880/04/20) reviews ‘Is it because its xx affects a perfect disregard for colour, or because the drawing of this last painting would be for a professor of calligraphy the most beautiful of all ensigns?’ (R90I,p302). Note: probably also exhibited as se1884-150, Maire et conseiller municipal, dessin à la plume (aR14,p17). Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59).

5IE-1880-176        Du soleil sur la grande route
Eng.: Sunshine on the main road. Nor Moffett, nor Berson gives a suggestion. Berson renders contemporary reviews, but they don’t describe the work. Berson suggests that Delteil no.99, La route ensoleillée may be related (R90II,p156), now: 1905, D99, La route ensoleille, colour etch, 21×27, A2009/09/24 (iR11;aR10;R138XVI,no99). I also render the original painting: 18xx, la route ensoleillée (bank of the Seine), on board, 65×83, A2015/12/15 (iR11;iR204;iR15;iR2;R2,p313;R90II,p156).

5IE-1880-177        Un commissionnaire de Paris; appartient à M. Massé
Note: the same title as: 6IE-1881-124, Un commissionnaire de Paris ; fait parti de collection particulière de M. Georges Petit, but with another owner. Eng.: A commission agent in Paris. Nl: Een vrachtvervoerder uit Parijs. Nor Moffett, nor Berson gives a suggestion. Berson renders a contemporary review of Huysmans, but he doesn’t describe the work. To compare I render a work of an unknown artist, 18xx, Le commissionnaire, etch, xx, MC Paris (iR195;iR10;R2,p313;R90II,p156).

5IE-1880-178        Portrait; appartient à Mlle. C. S. 
Eng.: portrait. Nor Moffett, nor Berson gives a suggestion. There are no contemporary reviews. As a very uncertain suggestions I render 3 portraits: 1xxx, Portrait of an old man wearing a bowler hat, 23×10, A2007/12/19 (iR11;iR17;R2,p313); and: 18xx, Un ancien ministre, on panel, 24×16, A2002/03/21 (iR13;R2,p313); compare also: 1xxx, D132, L’homme à la pipe, colour litho, 81×64, xx (iR204;R138,no132;aR7;R2,p313).

5IE-1880-179        Anes et poules dans l’herbe ; aquarelle
Eng.: Donkeys and chickens in the grass. Moffett mentions it was auctioned 1974/12/06 at Christie’s in London. Berson affirms. Now: 18xx, Deux anes dans un paysage, wc, 48×64, xx (R90II,p155+173). The picture Berson renders is probably an image of an (colour) etch, which I will render to compare: 1906, Les petits anes, colour etch, 45×56, A2016/06/22 (iR11;R138XVI,no69;R90II,p173;R2,p313). 

5IE-1880-179+hc1  Jardinier allumant sa pipe
Berson refers to a review of Véron who mentions there was a work with such a title / theme exhibited outside the catalogue (=hc) (R90I,p317). She leaves it unidentified (R90II,p156). Compare: se1884-1, Chiffonnier allumant sa pipe; appartient à M. Coquelin Cadet. Alexandre (1909) mentions a work in the Musée de Buenos-Ayres titled ‘Le jardinier’ (aR7,p232), probably: 18xx, The woodcutter (lumberjack) and his dog, 226×106, MNBA Buenos Aires (iR6;iR22). When you look closely the man is holding a white pipe. Maybe also exhibited as SNBA-1908-967. Compare also 1879 (or1884), A ragman lighting his pipe, 77×59, MBA Nantes (Orsay) (iR204;iR23;iR6;iR2;iR10;iR22;R2,p313;R90II,p155), a work I render to compare 5IE-1880-172, Balayeur souffrant du froid.

5IE-1880-179+hc2   L’Homme en blouse
Flor (1880/04/16) mentions apart from no. 171 another title l’Homme en blouse (the Man in a blouse) (R90I,p280), which I can’t relate to another work in the catalogue, so I assume it was exhibited outside the catalogue. Beraldi mentions under number 14 a lithographie titled ‘Tête d’homme en blouse’ and adds ‘topped with a fur cap and holding a stick’ (aR1=R85XI,p58). This corresponds: 1895, L’homme à la canne (man with a staff), litho, 62×47, A2014/12/04 (iR11), which I will render to compare.

5IE-1880-179+hc3  Chiffonnier et sa hotte  
Berson renders a drawing published in L’Art 1880, number 93 titled ‘Chiffonnier et sa hotte’ made after a work of T.F. Raffaëlli (R90I,p322). This work does not correspond one of the titles in the catalogue, nor one of the reviews. But it does correspond the title of no. 13 from his solo exhibition in 1884: Chiffonnier raccommodant sa hotte ; appartient à M. Personnaz (aR14,p8).  This title translated ‘ragpicker mending his basket’ does even more correspond the drawing, which I will render.

 

The sixth ‘impressionist’ exposition 1881:

  • catalogue numbers 91-124; 
  • in total  Jean-François Raffaëlli exhibited 34 works: 27 oil paintings; 5 watercolours; 1 pastel; 1 drawing
    • 7x indication of place: 2x Paris (no.92+124); 1x Asnières (97); 3x Clichy (no. 102+105+117); 1x Argenteuil (no.119)
    • 5x indication of time, season or weather: 1x storm (no.103); 4x snow (no.108+112+114+117).
    • 0x a study;
    • 16x loans (appartient à…): 3x Ernest Blum (no. 91+92+93); Raoul Toché (no. 94); 2x Albert Wolff (no.95+96); Heurtelop (no.97); Charles Hayem (no.104); Oppenheim (no.108); Ayarra de Garay (no.111); Jules Clarette (no.115); Mll Gabrielle Gauthier (no.117); Célérier (no.118); Darke del Castillo (no.119); Lamonts (no. 123); Georges Petit (no.124). 
  • See for the suggestions of Moffett (R2,p355) and of Berson (R90II,p184-6+195-7).

Reviews (R90I,p329-372):

I will render several reviews that give an enumeration of several works, whereby it is not always clear to which work they refer and if it possibly refers to a work outside the catalogue:
Claritie (1881/04/05) referring to snowscenes (probably no. 108, 112, 114, 117) reviews: ‘winter landscapes with un intensive impression, quite superior.’ (R90I,p334).
Geffroy (1881/04/19) reviews: ‘He became the painter of the suburbs of Paris (no.?), des barrières de Clichy (no.102) et de Levallois (no.?), of the sad banks of the Seine (no.112?), the slopes of the fortifications (no.102?; compare 5IE-1180-154), of dusty quarries (no.111?), of wastelands (no.95), enclosures where the city’s rubbish is thrown (no.?), bare fields, where lean and diseased grass grows among the rubble (no.?). There live the beggars that misery devours (no.?), suspicious roamers (no?), the ragpickers (des chiffonniers; no111+123), odd traders (no.96). They go, through the stones, on the greasy ground, eating, working, looming, the heated face, long beard, eyes always alert, the slanting glance. Sometimes emaciated (Nl. uitgemergelde) horses (no.98), scabby (NL. schurftig), immobile donkeys (no.95), with bent legs, looking miserable and resigned; chickens picking. Sometimes also the modern machine, steam crane (no.101), or shunting locomotive (no.115), appears in the midst of this desolation (no.114?). An icy breath runs over the ground; the skies are low and dark, rolling with dirty clouds of smoke from factory pipes (no. 108, 112, 114, 117?).’ (R90I,p343/4). Note: Levallois lies at the opposite bank of the Seine as Asnières where Raffaëlli did live, see maps
Goetschy (1881/04/05) reviews ‘There are suburban landscapes, with figures and animals in silhouette (no.95?), portraits of declassified people (no.91+118), the types of street people encountered all over the place, who are observed very closely, shouting the truth and painted with rare skill (no.?).   (R90I,p345)
Mantz (1881/04/23) reviews ‘He takes his motives from the lives of humble, road-menders (no.92) and small merchants (no.96), saw sharpeners (no.109+110), workers in suburban areas (no.?), harmless suburban bourgeois (no.113). He makes landscapes with nature the colour of dust/dirt (no?), the chalky grounds surrounding the fortifications of Paris (no.102?). He paints Asnières (no.97), Argenteuil (no.119), the banks of the Seine (no.112), as a very talented canoeist could do. It has a of very nice intensity on the yellowish whiteness of the snow (no.108, 112, 114, 117?), and he knows, about the greenery of the Parisian spring (no.?), on the freshness of the grass growing between the pieces of broken bottles (no.121), everything a gentleman needs to know. As a landscaper, Mr. Raffaelli looks for poetry in the familiar, and he finds it, because it’s everywhere. A figure painter, he likes black a little, but he accentuates the type, he specifies the features, he brings to life – preferably on light backgrounds – characters who are not marked by ideals, and whose naturalism is nevertheless interesting, … ‘ (R90I,p358)
Silvestre reviews (1881/04/11) ‘Quite apart I place Mr. Raffaëlli whose research differs absolutely from that of the rest of the group. This one is, on the contrary, refined in detail, an outrageous rendering. (…) They are all there, the suburban slum tramps, gatherers of broken glass (no.121?), ragpickers (chiffonniers; no111+123), those carrying baskets in rags (no.?), thugs (Nl. schurken) (no.?), saw sharpeners (no.109+110), all the countrymen of this pleasure valley which, from Levallois-Perret (west of Paris) to Montrouge (south of Paris), via Clichy (west of Paris) (no.102,105,117?), Popincourt (11th arrondisement, north-east part of Paris) and Belleville (north of Popincourt), makes Paris a belt of bohemians. See the man carrying a bag (no.116), the man who has just painted a fence (no.122), the ragpicker at the edge of the quarries (no.111), and you’ll think you can breathe, in the steam of paint trains (no.114,115?) and the smoke of factories (no.?), this vague scent of meager greenery (no.?) that characterises these corners, which are both populated and desolate at the same time. On the bare hills that close this and that on the horizon (no.?), Mr. Raffaëlli likes to place any effeminated (Nl. uitgemergeld) horse (no.98) or some bold donkey emerging, like an apocalyptic beast, on a delicate and melancholic sky. (no.95)’  (R90I,p365). 
In the second review Silvestre (1881/04/16) writes ‘But why does the small world of people in rags, the presenters of rags, those carrying baskets, and other tramps of Parisian life would not have its own historian? Haven’t the beggars recently found their poet in Jean Richepin? Also Mr. Raffaëlli is faithful to those poor people of the suburbs who, in the meagre landscapes with the fortifications bordering them, live between himalayas of rags and hills of bottle bottoms, in front of a horizon carved by the silhouettes of the houses and, here and there, by some promontory of pale greenery (no.?). An effinated (Nl. uitgemergeld) horse or a agonizing donkey, profiling their meagre rump on a corner of the sky which are refined by the distant smokes of the factories and whose clouds mingle with the plumes of the trains of the Belt, give an air of bourgeois Apocalypse to the vision of a flavorful accuracy (no.95,98). ‘ (R90I,p366).
Nina de Villards (1881/04/23) reviews ‘Mr. Raffaëlli’s purpose is to tell the poem of misery. His landscapes are the wastelands (no.?), the bare meadows (no.?), the diseased vegetation that forms like a ragged belt to the big city (no.?). His figures are the lower classes, bohemians (no.?), small dealers (no.96), ragpickers (chiffonniers; no111+123), melancholy night dwellers (no.?). His favourite season is the fierce winter with its snow white as a shroud (no.108, 112, 114, 117?); his animals themselves seem to be malnourished (no.98,95?). (R90I,p371).
Trianon (1881/04/24) reviews ‘Among the little paintings that make up the large battalions of Mr Raffaëlli’s annual army are particularly noteworthy, except for a certain coldness and monotony that is ever present, “Terrains vagues” (no.95) where a horse dwells in the green, an old waste pickster (no.?), a sweeper and a dog (no.?); a “Marchand d’ails et d’échalottes” (no.96) with a snow effect, a horse (no.98), fine study, except the hooves, a little neglected; “cassant une croûte” (no.100), silent but expressive dialogue between an old ragpicker and his dog; “un affûteur de scies” (no.109) walking and another in the middle of his work, who turns half way towards some unwelcome passer-by and throws him – from underneath his glasses, and unconsciously in doubt, an angry look (no.110); “Homme portant un sac” (no.116), old picker of waste, leaning on a stick; “Déclassé” (no.118), misery in a black overcoat, a package under the arm for some pawn shop, no doubt, and unshaven chin for a few days, a penetrating study where the cold proximity of the snow brings its sad note; “Route d’Argenteuil” (no.119), with a truthful and almost cheerful effect; the “Tas de verres cassés” (no.121), variant of an already seen painting; “Bonhomme venant de peindre sa barrière” (no.122), (R90I,p368) standing, brush and colour pot in hand, vulgar, tranquil and satisfied, -one of the exposed small paintings of the collection; finally a “Commissionnaire de Paris” (no.124), standing, lifting himself in force on a light wall where the hand of a young patriot wrote Courbet lec. The other letters of the word collonnard get lost in the frame. This is another good aspect of Mr Raffaëlli’s work. He has also exhibited his own portrait (no.107), which I think is larger than life, and of an effect that seemed to us neither picturesque nor characteristic.’ (R90I,p369).

1881 catalogue: (R2,p355/6;R90I,p327/8;iR1)

6IE-1881-91          Les Déclassés; appartient à M. Ernest Blum
Eng.: marginal figures / declined persons. Compare no. 118. Several contemporary reviews render descriptions. Moffett and Berson suggest: 1881, absinthe drinkers, 110×110, A2010/05/04 (iR2;iR11;iR59;R2,p368;R90II,p195;R3,p211). Probably the same as se1884-81, Les buveurs d’absinthe ; appartient à M. Ernest Blum.

6IE-1881-92          Cantonnier, Paris 4 k. 1. ; appartient à M. Ernest Blum
Several contemporary reviews render descriptions. Moffett and Berson render to compare: 18xx, roadmender (man sitting on a Milestone), wc pastel, 48×31, NLm Hannover (R90II,p196;R2,p339;aR7). Berson also refers to the etch, Delteil no. 57 (R90II,p185;aR2) and mentions the painting probably messures 41x41cm and was in the Ernest Blum sale in 1902 as no.13. The same as: se1884-10, “Paris 4 K. I. “; appartient à M. Ernest Blum. 

6IE-1881-93          Homme regardant dans une tranchée; appartient à M. Ernest Blum
Eng.: Man looking into a trench; Nl. Man die in een greppel kijkt. Moffett doesn’t give a suggestion, nor does Berson. There are no contemporary reviews. Maybe?: 1880ca, Le cheminot dans la neige (the begger), 53×38, A2015/12/16 (iR14;iR11;iR204;iR10;R2,p355) Compare 5IE-1880-154.

6IE-1881-94          Deux chiens se rencontrant sur la route; appartient à M. Raoul Toché
Eng.: Two dogs meeting on the road. Moffett doesn’t give a suggestion, nor does Berson. The contemporary review of Fournel does not give a description. Maybe?: 18xx, Les Chiens, xx, A2008/06/20 (iR17;R2,p355;R90II,p185)

6IE-1881-95          Terrains vagues; appartient à M. Albert Wolff
Eng.: Wasteland. Moffett doesn’t give a suggestion. Berson suggests: 1880, wasteland, oil, 22×27, A1988/05/24 (R90II,p196;iR14). There are several descriptions, but they can also refer to no.98. Trianon reviews: ‘ “Terrains vagues” (no.95) where a horse dwells in the green, an old waste pickster, a sweeper and a dog;(R90I,p368). Geoffroy reviews ‘Sometimes emaciated (Nl. uitgemergelde) horses (no.98), scabby (NL. schurftig), immobile donkeys, with bent legs, looking miserable and resigned; chickens picking.’ (R90I,p343/4). Silvestre reviews ‘On the bare hills that close this and that on the horizon, Mr. Raffaëlli likes to place any effeminated (Nl. uitgemergeld) horse (no.98) or some bare donkey emerging, like an apocalyptic beast, on a delicate and melancholic sky. (no.95)’ (R90I,p365). Silvestre later reviews ‘An effinated (Nl. uitgemergeld) horse or a agonizing donkey, profiling their meagre rump on a corner of the sky which are refined by the distant smokes of the factories and whose clouds mingle with the plumes of the trains of the Belt, give an air of bourgeois Apocalypse to the vision of a flavorful accuracy. ‘ (R90I,p366). Nina de Villards (1881/04/23) reviews ‘his animals themselves seem to be malnourished.’ (R90I,p371). To compare I also render: 1894, D16-2, Terrain perdu (vague), colour etch, 14×20, BNF Paris (iR40;iR143;R138XVI,no16;R2,p355;R90II,p185)

6IE-1881-96          Marchand d’ails et d’échalotes; appartient à M. Albert Wolff
Eng.: Garlic and shallot merchant. Berson (and Moffett) suggest: 1880ca, Garlic seller, oil, 72×49, MFA Boston (R90II,p196;R2,p355;iR204;iR6). The contemporary reviews don’t give a description. Only Trianon refers to a snow effect (R90I,p368). But the rendered picture doesn’t seem to depict snow and the trees in the background are green, so it doesn’t seem to be winter. So as a second option I also render: 1881ca, A stroller and his dog, on panel, 54×37, A2016/12/04 (iR10;iR13;R2,p355;R90II,p185) . This work I also suggest for 5IE-1880-147. 

6IE-1881-97          Sur la place des écoles, à Asnières; appartient à M. le Dr. Heurteloup
Eng.: On the Place des écoles (schoolyard), in Asnières. Moffett doesn’t give a suggestion, nor does Berson. There are no contemporary reviews. Mantz reviews ‘He paints Asnières (no.97), Argenteuil (no.119), the banks of the Seine (no.112), as a very talented canoeist could do.’  (R90I,p358). As an uncertain option I render: 1879ca, Asnier Newspaper, 32×41, A2010/11/04 (iR2;iR11;R2,p355). 

6IE-1881-98          Cheval
Eng.: horse. Moffett doesn’t give a suggestion, nor does Berson. Berson renders contemporary reviews, several also render descriptions. Gonzague-Privat (1881/04/05) reviews ‘and an astonishingly well executed Old Horse study. ‘ R90I,p345). Huysmans (1883) reviews ‘a horse on a height, the typical working horse / old crock that suburban amateurs have always seen, in the air, on a mound, cutting the horizon with its carcass; (R90I,p352). Trianon reviews ‘a horse, fine study, except the hooves, a little neglected’ (R90I,p368). There are several descriptions, but they can also refer to no.98. Trianon reviews: ‘ “Terrains vagues” (no.95) where a horse dwells in the green, an old waste pickster, a sweeper and a dog;(R90I,p368). Geoffroy reviews ‘Sometimes emaciated (Nl. uitgemergelde) horses (no.98), scabby (NL. schurftig), immobile donkeys, with bent legs, looking miserable and resigned; chickens picking.’ (R90I,p343/4). Silvestre reviews ‘On the bare hills that close this and that on the horizon, Mr. Raffaëlli likes to place any effeminated (Nl. uitgemergeld) horse (no.98) or some bare donkey emerging, like an apocalyptic beast, on a delicate and melancholic sky. (no.95)’ (R90I,p365). Silvestre later reviews ‘An effinated (Nl. uitgemergeld) horse or a agonizing donkey, profiling their meagre rump on a corner of the sky which are refined by the distant smokes of the factories and whose clouds mingle with the plumes of the trains of the Belt, give an air of bourgeois Apocalypse to the vision of a flavorful accuracy. ‘ (R90I,p366). Nina de Villards (1881/04/23) reviews ‘his animals themselves seem to be malnourished.’ 
As an uncertain option I render: 18xx, Woman and children in a landscape, on board,53×80, A2001/03/14 (iR13;R2,p355;R90II,p185). To compare I also render: 1907, D81-3, Le cheval dans la plaine, colour etch ps, 10×14, BNF Paris (iR40;R138XVI,no81;R2,p355;R90II,p185). 

6IE-1881-99          Portrait de ma Petite-fille
Eng.: portrait of my little girl. Moffett doesn’t give a suggestion, nor does Berson. There are no contemporary reviews. To compare I render 3 works Raffaëlli made of his daughter (shortly) after this exposition: 1: 1881/08, Portrait of Germaine, dr, xx, 2020/12/18 (iR86;R2,p355); 2: 1882/03/18, Portrait de Germaine, fille de l’artiste, 48×48, 2020/03/13 (iR85;iR10;aR10;R2,p355); 3: 1886, Germaine (8 years) at her Toilette, pastel, 108×60, AI Chicago (iR22;iR10;iR74;R2,p355).

6IE-1881-100        Cassant une croûte
Eng.: Breaking a crust. Moffett doesn’t give a suggestion. Berson refers to the etch of the painting: 1898, D37, Viellard assis et son chien (Les deux amis), etch, 47×22, xx (R138XVI,no37;R90II,p185;aR2), also exhibited at the Exposition Universelle in 1900. Berson renders two contemporary reviews. Nina de Villards (1881/04/23) reviews ‘A painting entitled CASSANT UNE CROUTE, depicts a poor devil gnawing on a piece of bread in front of a dog with a hungry face which made me think of the verses of poor Châtillon.’ (R90I,p371). Trianon reviews ‘silent but expressive dialogue between an old ragpicker and his dog’  (R90I,p368). As a second option I render: 1879, (The vagebond) On the road, 56×38, GM Beverly Hills (iR155;iR10;R90II,p172;R2,p355); I suggest this work also for 5IE-1880-161. On this work the dog has more this ‘hungry face’ as reviewed.

6IE-1881-101        Grue à vapeur
Eng.: Steam crane. Moffett doesn’t give a suggestion, nor does Berson. Probably also exhibited at the solo exhibition in 1884, no. 129 as La Grue (R90II,p185;aR14,p16). Berson renders contemporary reviews. Only Huysmans (1883) renders a description: ‘A steam crane can still be seen, melancholically lifting itself against the sky; ‘ (R90I,p353). Compare: 1xxx, View of a Port (à Eugène Bejot), mixed, xx, BNF Paris (R2;iR40;R2,p355;R90II,p185); this work doesn’t fit the description of Huysmans, but renders a crane by Raffaëlli. Compare: Stewart John, 1xxx, Titanic Steam cranes, xx, Axx (iR11;R2,p355;R90II,p185); this work renders a steam crane and partly fits the description of Huysmans.

6IE-1881-102        Barrière de Clichy
Eng.: The Clichy Barrier. Moffett doesn’t give a suggestion, nor does Berson. Geffroy (1881/04/19) reviews: ‘He became the painter of the suburbs of Paris, des barrières de Clichy et de Levallois. Note: Levallois-Perret is a sub-urb west of Paris; Clichy lies north of it. Did Geffroy with his review mean a border between Clichy and Levallois? Probably also exhibited at the solo exhibition in 1884, no. 135 and lent by M. Clapisson (R90II,p185;aR14,p16). As uncertain options I render two etchings to compare: 1896, D134, Terrassier de la Plaine Saint-Denis, colour litho, 31×46, A2014/03/06 (iR11;iR40;R138XVI,no.134;R2,p355;R90II,p185). And: 1907, D82-2, Les fortifications, colour etch, 10×14, BNF Paris (iR40;R138XVI,no82;aR7,p101;R2,p355;R90II,p185).

6IE-1881-103        Dans l’Orage, pastel
Eng.: In the storm. Moffett doesn’t give a suggestion, nor does Berson. There are no contemporary reviews. Compare: 1906, D73-2, L’orage, colour etch ps, 44×56, A2017/09/19 (iR11;iR40;R138XVI,no.73;R2,p355;R90II,p185). This etch was probably exhibited as: SNBA-1907-1905.

6IE-1881-104        Deux vaches et trois poules; appartient à M. Charles Hayem
Eng.: two cows and three chickens. Moffett doesn’t give a suggestion, nor does Berson. The only review of Geffroy doesn’t give a description. Compare: 18xx, A cow and chickens in a meadow, 20×27, A2001/05/03 (iR13;R2,p355;R90II,p185); this pictures renders 1 cow and 3 chickens.

6IE-1881-105        Le quai de Clichy, les ponts
Eng.: The Quai de Clichy, the bridges. Note: nowadays there are the Pont de Gennevilliers, Pont de Clichy, and the Pont d’Asnières. When you show on a picture two or more of these bridges, you must render an overall view taken from a high and distant viewpoint. Moffett doesn’t give a suggestion, nor does Berson. There are no contemporary reviews. Compare: se1884-137, Le pont de Clichy (aR14,p16), note: one bridge instead of two or more. As an uncertain option I render: 18xx, Fisherman on the banks of the Seine, 26×36, private (iR10;iR223;R3,p246;aR7;R2,p355). 

6IE-1881-106        Vue sur la cour d’un charron, aquarelle ;
Eng.: View of a courtyard with carriages. Moffett doesn’t give a suggestion, nor does Berson. There are no contemporary reviews. Probably the same as: se1884-146, Vue sur la cour d’un charron (aR14,p17). To compare I render an oil painting, probably made later: Compare: 1xxx, Parisian street scene, 43×52, A2010/10/26 (iR11;R2,p355). Compare also S1878-R = se1884-120 (iR1;aR14).

6IE-1881-107        Portrait de l’Auteur (added with handwriting : pastel)
Eng.: self-portrait. Moffett doesn’t give a suggestion, nor does Berson. Probably also exhibited at the solo exhibition in 1884, no. 93 (R90II,p185;aR14,p14). Berson renders contemporary reviews. Only Trianon renders a description: ‘He has also exhibited his own portrait which I think is larger than life, and of an effect that seemed to us neither picturesque nor characteristic.’ (R90I,p369). Maybe?: 1879ca, Artist painting (self-portrait), 52×53, Philadelphia MA (iR204;iR2;iR22;R2,p355;R90,p185). Note: the remark ‘larger than life’ does not fit; it is neither a pastel.

6IE-1881-108        Dans la neige; appartient à M. Oppenheim
Eng.: in the snow. Moffett doesn’t give a suggestion, nor does Berson. Berson renders contemporary reviews. Only Huysmans renders a description of 112 or maybe this number: ‘a painting, entitled Vue de Seine is even more powerful if possible, a canvas where water flows, creepy, between two banks of snow, under an overcast and pale sky that is blurred by dazzling smoke. We are far from that apple-green tapestry water and those white cotton wool trainees that the official snowboarders so kindly dispose of. The Seine is terrible in M. Raffaëlli’s panel; it rolls, slow and deaf, and it seems that it will never again lighten and turn blue between its banks, The impression of anguish left by this desolate landscape remains so acute, illuminated by the twilight rays of a dead sun, buried under a layer of heavy clouds.’ (R90I,p353). Other reviews refer to snow landscapes, possibly referring to number 108, 112, 114 and/or 117: Claritie (1881/04/05) reviews: ‘winter landscapes with un intensive impression, quite superior.’ (R90I,p334). Geoffroy reviews: ‘An icy breath runs over the ground; the skies are low and dark, rolling with dirty clouds of smoke from factory pipes.’ (R90I,p343/4). Mantz reviews ‘It has a of very nice intensity on the yellowish whiteness of the snow‘ (R90I,p358). Nina de Villards (1881/04/23) reviews ‘His favourite season is the fierce winter with its snow white as a shroud‘ (R90I,p371). 
To compare I render two etchings: Compare: 1909, D89, Les usines sous la neige (Rivière, au parc), colour etch ps, 16×20, A2010/10/27 (iR11;iR40;R138XVI,no.89;R2,p355;R90II,p185). And: 1907, D77-4, Snow, setting sun, colour etch, 47×22, A2010/02/11 (iR13;R138XVI,no77;aR7,p143;R2,p355;R90II,p185).

6IE-1881-109        Affûteur de scies
Eng.: Saw sharpener. Moffett doesn’t give a suggestion. Berson suggests: 18x, the knife sharpener, a landscape in the suburbs of Paris (Le Rémouleur, paysage de banlieu de Paris), 22×46, xx (R90II,p196;cpR138XVI,no76); she also refers to the etch made of this work: 1907, D76-2, Le Rémouleur, etch, 22×47, xx (R138XVI,no76).  Berson renders contemporary reviews. Only Trianon renders a description: ‘ “un affûteur de scies” (no.109) walking and another in the middle of his work, who turns half way towards some unwelcome passer-by and throws him – from underneath his glasses, and unconsciously in doubt, an angry look (no.110);’. I render the suggestion of Berson: 1907 (?), the knife sharpener, on board, 54×84, MdGrenoble (iR204;iR22;R90II,p196;R2,p355;cpR138XVI,no76); The date 1907 corresponds the date of the edge; I suppose the painting was made around 1881.

6IE-1881-110        Affûteur de scies, travaillant
Eng.: Saw sharpener, working. Moffett doesn’t give a suggestion, nor does Berson. Berson renders contemporary reviews. Only Trianon renders a description: ‘“un affûteur de scies” (no.109) walking and another in the middle of his work, who turns half way towards some unwelcome passer-by and throws him – from underneath his glasses, and unconsciously in doubt, an angry look‘ (no.110). I could not find a work of Raffaëlli that comes close. So to compare I render: Goya, 1790ca (or:1808-12), Knife Grinder, 68×51, SM Budapest (iR6;iR104;R2,p355R90II,p185).

6IE-1881-111        Chiffonnier au bord des Carrières; appartient à M. Ayarra de Garay
Eng.: Ragpicker along a stone pit. Moffett doesn’t give a suggestion, nor does Berson. Berson renders contemporary reviews. Geoffroy writes of ‘dusty quarries’ (R90I,p343/4). Mostly it is unclear which review refers to this number. Geffroy reviews ‘They go, through the stones, on the greasy ground, eating, working, looming, the heated face, long beard, eyes always alert, the slanting glance.’ (R90I,p343/4). 
Probably also exhibited at the solo exhibition in 1884, no. 138 and lent by M. Ayarra de Garay (R90II,p186;aR14,p16). I render two uncertain options: 18xx, le chiffonnier, xx, xx (iR204;iR122;iR10;R2,p355;R90II,p186); and: 18xx, Le Chiffonnier, on panel, 23×9, A2002/10/30 (iR15;iR11;iR204;R2,p355;R90II,p186). 

6IE-1881-112        La neige, au bord de l’eau, aquarelle ;
Eng.: the snow, on the banks of the water. Moffett doesn’t give a suggestion, nor does Berson. Berson renders contemporary reviews. Geoffroy writes about ‘the sad banks of the Seine’ (R90I,p343/4). Huysmans renders a description of this number or 108: ‘a painting, entitled Vue de Seine is even more powerful if possible, a canvas where water flows, creepy, between two banks of snow, under an overcast and pale sky that is blurred by dazzling smoke. We are far from that apple-green tapestry water and those white cotton wool trainees that the official snowboarders so kindly dispose of. The Seine is terrible in M. Raffaëlli’s panel; it rolls, slow and deaf, and it seems that it will never again lighten and turn blue between its banks, The impression of anguish left by this desolate landscape remains so acute, illuminated by the twilight rays of a dead sun, buried under a layer of heavy clouds.’ (R90I,p353). Mantz reviews ‘He paints Asnières (no.97), Argenteuil (no.119), the banks of the Seine (no.112), as a very talented canoeist could do.’  (R90I,p358). Other reviews refer to snow landscapes, possibly referring to number 108, 112, 114 and/or 117: Claritie (1881/04/05) reviews: ‘winter landscapes with un intensive impression, quite superior.’ (R90I,p334). Geoffroy reviews: ‘An icy breath runs over the ground; the skies are low and dark, rolling with dirty clouds of smoke from factory pipes.’ (R90I,p343/4). Mantz reviews ‘It has a of very nice intensity on the yellowish whiteness of the snow’ (R90I,p358). Nina de Villards (1881/04/23) reviews ‘His favourite season is the fierce winter with its snow white as a shroud’ (R90I,p371). 
To compare I render two oil paintings: 18xx, L’hiver en banlieue (La neige sur le quai), 24×33, MAH Cholet (Orsay) (iR22;iR127;aR7,p220;R2,p355;R90II,p186). And: 1xxx, au bord de la Seine, environs de Paris, 65×92, A2005/11/17 (iR11;iR15;R2,p355;R90II,p186).

6IE-1881-113        Bourgeois lisant « les faits divers »
Eng.: Bourgeois reading ‘the different facts’. Moffett doesn’t give a suggestion, nor does Berson. Berson renders contemporary reviews, but none render a description, but none render a description. Mantz writes about ‘harmless suburban bourgeois’ (R90I,p358). Probably also exhibited at the solo exhibition in 1884, no. 57, as ‘Bourgeois tranquille, lisant un gros fait divers’ (R90II,p186;aR14). Maybe?: 18xx, le petit rentier Français, xx, xx (iR204;R2,p355;R90II,p186).

6IE-1881-114        Chemin de fer sous la neige
Eng.: the railroad under the snow. Moffett doesn’t give a suggestion, nor does Berson. Berson renders contemporary reviews. It is unclear if they refer to no.114 or 115. Huysmans (1883) reviews: ‘a broken down locomotive near a station’ (R90I,p352). Geffroy reviews ‘shunting locomotive, appears in the midst of this desolation‘. And Silvestre (1881/04/11) ‘and you’ll think you can breathe, in the steam of paint trains’, see above. Other reviews refer to snow landscapes, possibly referring to number 108, 112, 114 and/or 117: Claritie (1881/04/05) reviews: ‘winter landscapes with un intensive impression, quite superior.’ (R90I,p334). Geoffroy reviews: ‘An icy breath runs over the ground; the skies are low and dark, rolling with dirty clouds of smoke from factory pipes.’ (R90I,p343/4). Mantz reviews ‘It has a of very nice intensity on the yellowish whiteness of the snow’ (R90I,p358). Nina de Villards (1881/04/23) reviews ‘His favourite season is the fierce winter with its snow white as a shroud’ (R90I,p371). I could not find a work of Raffaëlli that comes near. So to compare I render a work of Monet: 1875, CR356, Train in the Snow, 59×78, Marmottan (iR6;iR22;R22,no356;R2,p355;R90II,p186). 

6IE-1881-115        Locomotive en manœuvre; appartient à M. Jules Clarette
Eng.: locomotive on the move. Moffett doesn’t give a suggestion. Berson suggests: 1880, Le chemin de fer, 19×22, A1973/07/05 (R90II,p186+196). Berson renders contemporary reviews. It is unclear if they refer to no.114 or 115. Huysmans (1883) reviews : ‘a broken down locomotive near a station‘ (R90I,p352). Geffroy reviews ‘shunting locomotive, appears in the midst of this desolation’. And Silvestre (1881/04/11) ‘and you’ll think you can breathe, in the steam of paint trains’, see above. Compare also se1884-125, La locomotive (aR14,p16).

6IE-1881-116        Homme portant un sac, aquarelle ;
Eng.: man carrying a sac. Moffett doesn’t render a suggestion, nor does Berson. Berson renders contemporary reviews. Only Trianon renders a description: ‘old picker of waste, leaning on a stick‘ (R90I,p368). To compare I render: 18xx, The vagabond, on panel, 23×11, A2001/05/01 (iR13;R2,p355;R90II,p186), here the vagabond is also leaning on a stick, but it is an oil painting, not a watercolour.

6IE-1881-117        La neige à Clichy; appartient à Mademoiselle Gabrielle Gauthier
Eng.: the snow in Clichy. Moffett doesn’t give a suggestion, nor does Berson. Berson renders two contemporary reviews. Only Huysmans gives a description: ‘finally a View of Clichy, in snowy weather.’ (R90I,p352). Other reviews refer to snow landscapes, possibly referring to number 108, 112, 114 and/or 117: Claritie (1881/04/05) reviews: ‘winter landscapes with un intensive impression, quite superior.’ (R90I,p334). Geoffroy reviews: ‘An icy breath runs over the ground; the skies are low and dark, rolling with dirty clouds of smoke from factory pipes.’ (R90I,p343/4). Mantz reviews ‘It has a of very nice intensity on the yellowish whiteness of the snow’ (R90I,p358). Nina de Villards (1881/04/23) reviews ‘His favourite season is the fierce winter with its snow white as a shroud’ (R90I,p371). 
I render two uncertain options: 18xx, Street scene in winter, 61×81, A2010/04/20 (iR13;iR11;R2,p355;R90II,p186). And: 18xx, Street Scene, winter, 57×74, Rhode-Island SDM (iR6;R2,p355;R90II,p186).

6IE-1881-118        Déclassé; appartient à M. Célérier
Eng.: marginal figures / declined persons. Compare no.91. Moffett doesn’t give a suggestion, nor does Berson. Probably also exhibited at the solo exhibition in 1884, no. 2, lent by M. Cellérié (R90II,p185;aR14). Berson renders contemporary reviews. Trianon renders a description: ‘misery in a black overcoat, a package under the arm for some pawn shop, no doubt, and unshaven chin for a few days, a penetrating study where the cold proximity of the snow brings its sad note;’ (R90I,p368).

6IE-1881-119        Route d’Argenteuil, aquarelle; appartient à M. Drake del Castillo
Eng.: the road to Argenteuil. Moffett doesn’t give a suggestion, nor does Berson. Probably also exhibited at the solo exhibition in 1884, no. 142, lent by M. Drake del Castillo (R90II,p186;aR14,p17). Berson renders the contemporary review of Trianon: ‘with a truthful and almost cheerful effect’. Mantz reviews ‘He paints Asnières (no.97), Argenteuil (no.119), the banks of the Seine (no.112), as a very talented canoeist could do.’  (R90I,p358). To compare I render an oil painting and an etch: 1874, Promenade au bord de l’eau, 26×40, A2014/05/07 (iR11;iR13;R2,p355;R90II,p186). And: Compare: 1898, D40-3, à Gennevilliers, colour etch, 16×23, BNF Paris (iR40;R138XVI,no40;R2,p355;R90II,p186)

6IE-1881-120        Dessin à la plume
Eng.: drawing with a feather. Moffett doesn’t give a suggestion, nor does Berson. There are no contemporary reviews. I render two very uncertain options: 1877, B15-2, Hans Burgmeier, dr, 37×26, A2010/04/28 (iR11;aR1=R85XI;R2,p355); Compare: S1879-4088. And: 1876ca, An old woman, seated, in Breton dress (study for S1877-1755), dr, 19×12 (or48x31), A2006/01/24 (iR15;iR11;aR7,p54;R2,p355).

6IE-1881-121        Le tas de verres cassés, aquarelle
Eng.: The pile of broken glasses. Moffett doesn’t give a suggestion, nor does Berson. Probably also exhibited at the solo exhibition in 1884, no. 141 (R90II,p186;aR14,p17). Berson renders contemporary reviews. Silvestre writes about ‘gatherers of broken glass‘, Mantz about ‘on the freshness of the grass growing between the pieces of broken bottles‘ and Trianon mentions it is ‘variant of an already seen painting‘ (see reviews above). Probably: 1882ca, Le terrain vague, wc mix, 31×40, AI Chicago (iR74;aR7,p135;R2,p355;R90II,p186) Former collection of N.R… This watercolour resembles the discription and also resembles no. 95 and maybe also no. 98. To compare I also render the etch of this work: Compare: 1894, D8, Terrain vague (Types de petite gens), colour etch, 19×22, BNF Paris (iR40;iR11;R138XVI,no8;R2,p355;R90II,p186), which was also exhibited in 1898.

6IE-1881-122        Bonhomme venant de peindre sa barrière
Eng.: Man who has just painted his fence. Moffett and Berson suggest: 1881ca, Fellow having just painted his fence, oil dr, 65×50, A2014/05/09 (iR11;iR14;iR2;R90II,p197;R2,p338;R1,p434). Berson renders contemporary reviews, some of them also render a description. Trianon reviews ‘standing, brush and colour pot in hand, vulgar, tranquil and satisfied, -one of the exposed small paintings of the collection’ (R90I,p369). Probably also exhibited in 1884: se1884-55, Bonhomme venant de peindre sa barrière ; appartient à M.

6IE-1881-123        Chiffonnier tenant un panier; appartient à M. H. de Lamonts
Eng.: Ragpicker holding a basket. Moffett suggests a work in a private collection in Los Angeles. Berson renders contemporary reviews, but none render a description. Berson suggest as a possibility 1879, Le Chemineau au bords de la Seine (a tramp along the banks of the Seine), xx, private (R90II,p186;R175,p167), but doesn’t render a picture. Maybe?: 18xx, Le chiffonnier (the ragpicker), 42×34, A2020/06/23 (iR6;iR15;iR14;iR11;iR2;R2,p355;R90II,p186).

6IE-1881-124        Un commissionnaire de Paris ; fait parti de collection particulière de M. Georges Petit
Note: the same title as: 5IE-1880-177, Un commissionnaire de Paris; appartient à M. Massé, but with another owner. Eng.: A commission agent from Paris. Nl: boodschapper, kruier, makelaar. Moffett doesn’t give a suggestion, nor does Berson. Berson renders contemporary reviews, only Trianon renders a description: ‘standing, lifting himself in force on a light wall where the hand of a young patriot wrote Courbet lec. The other letters of the word collonnard get lost in the frame.’ (R90I,p369). 

 

 

Jean-François Raffaëlli at the Salon and other exhibitions:

Note: I render the titles and more obvious suggestions. It is not within the scope of this website, to give suggestions for all the works that Raffaëlli exhibited.
My main source is the Salon database (iR1). In the old catalogues his name Raffaëlli is sometimes writen as Raffaelli. His first name is mostly rendered as Jean-François. In 1870 and 73 it is rendered as Francisque. Raffaëlli was born in Paris.
Another source I used is the work of Arsène Alexandre (1909 =aR7,p223-226), the catalogue of his solo exhibition (aR14) and also Joconde (aR4=iR23).

 

Raffaëlli at the Salon:

S1870-2368 Paysage
Debut at the Salon (iR1;R88I,p704;aR7,p223). Note: Raffaëlli his first name is rendered as ‘Francisque’ (iR1). Alexandre mentions that he quickly brushed a forest edge (aR7,p46).

S1872-R 2 paintings, 2 drawings, 2 sculptures
Alexandre (1909) writes that Raffaëlli was refused with 2 paintings, 2 drawings and 2 sculptures (aR7,p46+223).

S1873-1233 L’attaque sous bois 
(iR1;aR7). Note: Raffaëlli his first name is rendered as ‘Francisque’ (iR1). Eng: The undergrowth attack. This work fits the description: 1874, Ambush, 99×75, Axx (iR2;iR204;iR13). But Joconde suggests: 1873, Scène galante dans un bois, 72×93, MP Verdun (aR4=iR23). I will render them both. Alexandre describes it as ‘the amorous attack, gallant scene of time gone by, this time includes a study from nature of a forest, done in Fontainebleau with a lot of attention and care (aR7,p48). This decription affirms the suggestion of Joconde, which I will render.

S1874-1532 Mendiant
(iR1;aR7). Eng.: Beggar / liar. Alexandre describes ‘a life-size figure halfway up the body. It should not be thought that the painter of the poor people had already in this work indicated his orientation. Despite the title, it is rather a vigorous attempt at painting in the spirit of Rembrandt and the old masters. (aR7,p48). 

S1875-1696 A Nice
(iR1;aR7) Alexandre describes ‘a very small canvas, extremely powerful, a scene of the genre’ (aR7,p48).

S1876-1703 En excursion !
(iR1;aR7) Alexandre describes ‘this genre painting … is also a painting of great value for its execution. The landscape is a view of the countryside in the vicinity of the Vesuvius, taken during the famous stay in Sorrento, and the figures are dressed in Louis XIII style. (aR7,p50). It was later sold for 5000 francs (Alexandre wrongly mentions it was exhibited in 1872; aR7,p52). 

S1876-1704 Moresque
(iR1;aR7) Alexandre only mentions it as a genre painting (aR7,p50). 

S1876-R “Vecchiahia”
In the catalogue of his solo exhibition of 1884 it is indicated the number 59 “Vecchiahia” was refused for the Salon of 1876 (aR14,p12). “Vecchiahia” probably is Italian and means something like ‘someone of old age’. 

S1877-1754 Une charmeuse nègre
(iR1;aR7). Probably: . Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59). Alexandre describes ‘scene with many female figures, in rich costumes, among an architecture and in a climate of Algeria. In short, this painting is in no way inferior to the works of Fortuny and his pupils, that is to say, it was fashionable at the time, as well as being as stylish and scintillating as one could wish for.’ (aR7,p52). 

S1877-1755 La famille de Jean-le-Boîteux, paysans de Plougasnou (Finistère)
Additional info: (Voir Sculpture). (iR1;aR7) Compare R9. Monneret (wrongly) mentions he exhibited this work in 1876 and that Durantly wrote a warm-hearted review (R88). Schurr & Cabanne make the same mistake (R9,p607). Also exhibited as se1884-18.

S1877-4088 Hans Burgmeier ; buste, plâtre
Additional info: (Voir Peinture). (iR1). Note: Alexandre doesn’t mention this work in his Salon overview, but he does in his overview of sculptures (aR7,p230). Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59). Now: 18xx, Portrait of Hans Burgkmaïer, sc, 55×48, A2020/03/13 (iR10;iR44;iR1;aR7,p230). 

S1878-R La Place de l’Opéra
Raffaëlli was refused for the Salon (aR7,p224;aR14,p15). With: 1878, La Place de l’Opéra, 70×151, A2010/11/02 (iR14;aR7,p68). Exhibited at his solo exhibition 1884-120,  La place de l’Opéra.

S1878-R  La provende des poules
In the catalogue of his solo exhibition of 1884 it is indicated that number 64 is a photo of his painting that was refused for the Salon of 1878, in 1884 belonging to M. Malher from Rotterdam (Holland) (aR14,p12). The title means something like ‘The feeding of the hens’. Note: Alexandre doesn’t refer to this work (aR7,p68). 

S1879-2501 La rentrée des chiffonniers
(iR1;aR7). Also exhibited as se1884-77, La rentrée des Chiffoniers, appartient à M. Deloison. Compare also: se1884-72, Deux chiffonniers rentrant (aR14).

S 1879-2502 Deux vieux
Additional info: (Voir Dessins). (iR1;aR7). Shortly after the Salon it was bought by Sir James Bell. Also exhibited as se1884-19, but there is no notification of an owner (aR14). Maybe also the same as 5IE-1880-144; here also there is no notification of an owner (R2,p313). 

S1879-4444, Chiffonnier ; aquarelle-gouache
(iR1). Note: Alexandre doesn’t mention this work (aR7). The same as se1884-3, Chiffonier et son chien; Salon de 1879 (aR14). Maybe also the same as 5IE-1880-161.

S1879-4445 La vieille
Additional info: (Voir Peinture). (iR1). Note: Alexandre doesn’t mention this work (aR7).

 

Salon du Société des Artiste Français:

SdAF-1882-R
Raffaëlli was refused for the Salon (aR7,p224).

SdAF-1883-R
Raffaëlli was refused for the Salon (aR7,p224).

SdAF-1885- 2054 Portrait de M. Clémenceau, dans une réunion électorale ;
Additional info: Peinture ; (Voir Dessins). (iR1;aR7) Now: 1883, Georges Clemenceau Giving a Speech at the Cirque Fernando, 243×205, CdVersailles (iR2;iR1;aR7;R88). Also depicting Geffroy, Millerand, Pelletan, Pichon, Tony Revillon, Rouanet and others of whom he made prepatory studies (iR1;R88)

SdAF-1885- 3131 *Forgerons ; dessin rehaussé à l’huile ;
Additional info: dessin, huile ; Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences. Eng.: Blacksmiths; oil-enhanced drawing. (iR1). Probably: 1884, Blacksmiths taking a Drink, 77×57, MC Douai (iR2;iR1;aR7,p224;R85XI,no15). Also: Les Forgerons buvant (aR7,p224). Compare: XX-1885-5, Les forgerons. Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59).

SdAF-1885- 3132 *Chiffonnier ; dessin rehaussé à l’huile ;
Additional info: (Voir Peinture). (iR1;aR7). It don’t render a suggestion. Raffaëlli depicted many ragpickers / pedlars.

SdAF-1886- 1954 *Chez le fondeur ; Peinture ; bas-relief
(iR1;aR7). Now: 1886, At the Foundry, 128×169, MBA Lyon (Orsay) (iR204;iR6;iR1;iR2;aR7). See the bas-relief version at the exhibited sculptures.

SdAF-1886- 1955 *Midi ; effet de givre ; Peinture
(iR1;aR7). Probably: 1888, Midday, Effect of Frost, 128×117, Philadelphia MA (iR22;iR1;aR7). Note: this painting is dated later, I wonder if this is correct. Or did Raffaëlli make more pictures with the same title? I could not find them.

SdAF-1886- 3258 *Le dimanche au cabaret ; dessin rehaussé
(iR1). Note: Alexandre doesn’t mention this work  in his Salon overview (aR7), but he renders an image (p43). Probably: 18xx, Le dimanche au cabaret, xx, xx (iR204;aR7,p43) = XX-3.

SdAF-1886- 3259 *L’armée du Salut ; dessin rehaussé
(iR1). Note: Alexandre doesn’t mention this work in his Salon overview (aR7), but he does render an image (p180). Probably: 18xx, L’Armée du Salut à Jersey (coll Henri Duhem) (iR155;iR10;aR7,p180) =XX-1. Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59). 

SdAF-1887-1977 *La Belle Matinée, peinture.
(iR1;aR7,p224). Now: 1887, La Belle Matinée (Femme endormie), xx, xx, (iR10;iR15;iR1;aR7,p115). Compare also: 1873, La belle endormie (the sleeping beauty), 101×121, A2010/07/07 (iR15;iR204;iR11;iR2;iR24;iR1).

SdAF-1887-3373, *Portraits, types de gens du peuple ; terrassiers à la décharge
Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences. (iR1). Note: Alexandre doesn’t mention this work (aR7). Eng.: Portraits, types of common people; diggers at the dump site. Probably several drawings and pastels. Compare also SdAF-1889-3741. I don’t render suggestions.

SdAF-1888-2098  Portrait d’E. de Goncourt.
(iR1;aR7,p224). Now: 1888, Portrait of Edmond de Goncourt, 261×172, MBA Nancy (iR2;iR23;iR1;aR7,p224;R88). Monneret (wrongly) writes it was exhibited at the Salon in 1890 (R88I,p705). Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59).

SdAF-1889-2230 Portraits de Judith et de Gabrielle (Appartient à M. Ch. S…)
(iR1;aR7,p224). Probably: 1889, Portrait of Judith and Gabrielle, 224×134, MBA Lyon (iR2;iR1;aR7,p224).

SdAF-1889-2231 Les Buveurs d’absinthe (Appartient à M. E. Blum)
(iR1;aR7,p224). Probably the same as 6IE-1881-91, Les déclassés. 

SdAF-1889-3740, *La leçon de chant ; dessin rehaussé de peinture à l’huile
Eng.: Singing lesson; drawing enhanced with oil painting. (iR1). Note: Alexandre doesn’t mention this work (aR7). I don’t render a suggestion.

SdAF-1889- 3741, *Terrassier à la carrière ; dessin rehaussé de peinture à l’huile.
Eng.: Digger at the quarry; drawing enhanced with oil paint.(iR1). Note: Alexandre doesn’t mention this work  in his Salon overview, but he does render a picture and adds it belonged to the collection of B. de R… (aR7,p93). Compare: se1884-15, Terrassier à la carrière ; appartient à M. Georges Petit. Compare Delteil 31, 1897ca, Le terrassier à la décharge, etch, 27×21, xx (R138XVI,no31). I don’t render a suggestion. 

 

Solo exhibition, 1884 in Paris: (aR14,p7-18)

Overview:

  • catalogue numbers 1-153+2=155; some works contained of more than one work; no.85 is left out 
  • in total  Jean-François Raffaëlli exhibited 181 works in 1884, including 1 watercolour (no.123); 3 pastels (no.18bis+60+132); 8x etchings (no.148=3x+149=4x+151); 1 drawing (no.150); 2 sculptures (no.B1+B2)
    • 39x indication of place: 7x Paris (no.10+28+120-124); 1x Asnières (134); 3x Clichy (no. 1+135+137); 1x Levallois (no.132); 2x Argenteuil (no.142+144); 2x Gennevilliers (no.126+128); 1x Courbevois (no.133); 1x Forêt de Fontainebleau (no.32bis); 1x Normandie (no.42); 1x Dieppe (no.8); 4x Plougsnou (Finistère); 9x Honfleur (no.40=x2+41+58=6x); 5x Tréport (no. 39+45+46+47+48); 1x Saint-Ouen (no.127)
    • 8x indication of time, season or weather .
    • 38x a study: no. 23bis-32ter + no.96-119.
    • 56x loans (appartient à…): 9x anonymous; 5x Georges Petit (no. 15+16+62+123+127); 5x M. Charles Hayem (no. 6+9+35+73+131); 3x M. Carel, de Saint-Germain (no.51-53); 2x Ernest Blum (no.10+81); 2x M. Huysmans (no.149+153); 2x Mme. R. (=Raffaëlli?) (no.84bis+92); M. R. (=Raffaëlli?) (no.90); M. Hecht (no.84); M. Duranty (no.150); M. Clapisson (no.135);  M. Bartholomé (no.25); Alfred Stevens (no.23); M. Mahler, de Rotterdam (no.64); Mme P.B. née de F. (no.67); Leonce Chafflot (no.88); M. E. Levallois (no.38bis); Antonin Proust (no. 33); M. Clémenceau (no.21); Ch.-L. Heude (no.17); M. Coquelin Cadet (no.1); M. Cellérie (no.2); ; Emile Soldi (no.121); M. Roudillon (no.133); Henry Gréville (no.91); Francis Magnard (no. 145); M. Deloison (no.77); M. le docteur Petter (no.74); M. Nissim (no.42); M. de la Monta (no.147); M. Personnaz (no.13); Ayarra de Garra (no.138); M. Madrazzo (no.140); Drake del Castillo (no.142); M. Boldini (no.22).
      Note that almost 1/3 of the exhibited works were loans. Note also the many Italian and Spanish souding names.)


Catalogue illustré des oeuvres de Jean-François Raffaëlli; Suivi d’une étude de beau caractériste

Portraits-types de gens du bas peuple

se1884-1 Chiffonnier allumant sa pipe; appartient à M. Coquelin Cadet.
Compare : 5IE-1880-179+hc1, Jardinier allumant sa pipe.

se1884-2 Déclassé; appartient à M. Cellérié.
=6IE-1881-118, Déclassé; appartient à M. Célérier.

se1884-3 Chiffonier et son chien; Salon de 1879.
Probably S1879-4444.

se1884-4 Buveur d’absinthe; ; appartient à M.
Compare : 1880, The Absinth Drinker, 50×32, MAMC Liège (iR2)

se1884-5 Le Terrassier et le Fumiste.
Nl.: De grondwerker en de kachelsmid. Eng.: Groundworker and the smoker

se1884-6 Chiffonnier assis sur sa hotte ; appartient à M. Charles Hayem.
Nl. : draagkorf

se1884-7 Le Marchand de chiens.
Maybe: 18xx, Le dresseur de chiens, 55×33, A2009/07/08 (iR15;iR14;iR204)

se1884-8 Femmes de Dieppe.

se1884-9 Marchand d’habits ; appartient à M. Hayem.
Compare: 5IE-1880-157 +SNBA-1893-860.

se1884-10 Paris 4 K. I. “; appartient à M. Ernest Blum.
=6IE-1881-92

se1884-11 Déclassé au bord de la Seine.

se1884-12 Doqueteux par la pluie et le vent ; appartient à M.

se1884-12bis Cuisinière au marché.
Probably: 1884ca, the cook at the market, oil+pastel, 55×37, A2012/11/08 (iR11;iR14;iR204;aR14)

se1884-13 Chiffonnier raccommodant sa hotte ; appartient à M. Personnaz.
Eng.: ragpicker mending his hood Nl. : draagkorf. Probably: 5IE-1880-179+hc3, cp1880, Chiffonnier et sa hotte (after T.F. Raffaëlli), dr, xx, L’Art93 (R90I,p322)

se1884-14 Le Voleur et le Recéleur.
Eng.: The Thief and the Recreatener Nl. :  heler

se1884-15 Terrassier à la carrière ; appartient à M. Georges Petit.
Eng.: digger in the quarry. Compare : SdAF-1889- 3741, *Terrassier à la carrière ; dessin rehaussé de peinture à l’huile.

se1884-16 Terrassier à la décharge ; appartient à M. Georges Petit.
Eng.: Groundworker at the waste disposal. = XX-1885- 2, Le terrassier à la décharge, (Appartient à M. Georges Petit),

se1884-17 Homme venant de voler un pain ; appartient à M. Ch. -L. Heude.
Compare : 5IE-1880-170

se1884-18 La famille de Jean-le-Boîteux, paysans de Plougasnou (Finistère); Salon de 1877.
=S1877-1755.

se1884-18bis Le vieux; par la pluie; pastel.

se1884-19 Les deux vieux; Salon de 1879.
=S1879-2502; Compare : 5IE-1880-144

se1884-20 Hommes venant d’abattre des arbres ; appartient à M.
Eng.: Men who have just felled trees

se1884-20bis Portrait de mon fumiste.
Nl. : kachelsmid

se1884-21, Chiffonnier ; appartient à M. Clémenceau.

se1884-22, Le Marchand de marrons ; appartient à M. Boldini.
Probably : 5IE-1880-166-1

se1884-23 Pêcheur à la ligne; appartient à M. Alfred Stevens.

Études:

se1884-23bis Jardins.

se1884-24, Massif de plantes à feuilles rouges.

se1884-25, Champs, appartient à M. Bartholomé.

se1884-26, Arbuste.

se1884-26bis, A Cernay.

se1884-27, Massif de fleurs.

se1884-27bis, Étude de chiens bassets.

se1884-28 Platanes du parc Monceau.

se1884-29 Voiture de maraîcher ; appartient à M. le comte d’Ideville.
Compare: no.139

se1884-30 Église de Plougasnou (Finistère).

se1884-31 La Mer à Plougasnou.

se1884-32 Les Falaises à Plougasnou.

se1884-32bis Étude, Forêt de Fontainebleau.

se1884-32ter Vaches
Maybe: 1xxx, Les vaches (étude), 21×13, A2016/09/18 (iR11;iR13).

“Fables”

se1884-33, Les petits Anes, appartient à M. Antonin Proust

se1884-34, Le Coq, le poules et ses petits.

se1884-35 Petit Ane, appartient à M. Charles Hayem.

“Pantomimes”

se1884-36 L’assassinat de la Vieille au cabas.

se1884-37 Le Cireur de l’Hôtel des Voyageurs, appartient à M.

se1884-38 La maison où l’on se bat toujours.

se1884-38bis Chez le Dentiste ; appartient à M. E. Levallois
= 5IE-1880-148

Paysages de bords de la mer:

se1884-39 Le Tréport, vu du chemin de fer.

se1884-40, Rue de Honfleur; 2x

se1884-41 Le Casino et les Bains, à Honfleur.

se1884-42, Paysage de Normandie, appartient à M. Nissim.

se1884-43, La Rue du village de Champs.

se1884-44, Les Galets.

se1884-45, L’Abbaye au Tréport.

se1884-46, Le quai au Tréport.

se1884-47, La ‘Retenue’ au Tréport.

se1884-48, Le Tréport, en panorama.

se1884-49, La Colline.

se1884-50, Marais Salins.

Décoration volante de salle à manger:

se1884-51, Gibiers, poissons, Pot-au-feu; appartient à M.Carel, de Saint-Germain

se1884-52, Huîtres, Langouste, Radis; appartient à M.Carel, de Saint-Germain

se1884-53, Fruits, Fromage et Desserte; appartient à M.Carel, de Saint-Germain

Portrait-types de petits bourgeois:

se1884-54 Petit Bourgeois revenant du marché.

se1884-55 Bonhomme venant de peindre sa barrière ; appartient à M.
Probably : 6IE-18 81-122

se1884-56 Petit bourgeois regardant ses soleils
Nl. : zonnebloem

se1884-57 Bourgeois tranquille, lisant un gros fait divers
Compare : 6IE-18 81-113

Divers:

se1884-58 Suite de six peintures sur Honfleur:

se1884-58-1 Le père Altazin, premier sauveteur d’Honfleur;
Probably: 1882 (1875-82), Père Alcazin, Chief Lifeguard of Honfleur, 36×31, MBB Rotterdam (iR22;iR6)

se1884-58-2, Honfleur, vu de la côte de Grâce

se1884-58-3, Le grand bassin.

se1884-58-4 La ‘Lieutenance.
Probably: 18xx, la lieutenance Honfleur, on board, 23×17, A2008/04/15 (iR204;iR15)

se1884-58-5 L’Embarquement des bœufs pour l’Angleterre.

se1884-58-6 Tête de vieux matelot
Maybe: 18xx, Tête de pêcheur (Profile of a farmer), on board, 36×31, A1996/11/13 (aR14,p0+11;aR7,p18;iR13)

se1884-58-7 Une notice humoristique sur Honfleur.

se1884-58bis nature morte.

se1884-59 “Vecchiahia”; Ce tableau a été refusé au Salon de 1876.
Italian ?: someone of old age?

se1884-60 L’orage, pastel
cpSNBA-1907-1754 etch

se1884-61 fleurs.
cpSNBA

se1884-62 Le chasseur et ses bassets ; appartient à M. Georges Petit
Eng.: The hunter and his basset hounds

se1884-63 Jeune femme hésitant avant d’entrer dans le bain.
=5IE-1880-151

se1884-64 La provende des poules ; Photographie d’un tableau refusé au salon de 1878. Appartenant à M. Malher, de Rotterdam.
Eng.: The feeding of the hens; =S1878-R

se1884-65 Le peintre réaliste.

se1884-66 Le sculpteur idéaliste.
Compare : SNBA-1892-828.

se1884-67 Éventail ; appartient à Mme. P.B. née de F.
Compare: 1898, D52-3, Eventail aux oeillets, colour etch, 48×26, Axx (iR11;R138XVI,no52;aR7,p164;aR14,p12)

Scènes de Moeurs:
Eng.: Scenes of Habits ; Nl. gebruiken

se1884-68 “Nous vous donnerons 25 francs pour commencer » ; Intérieur de vieux petits bourgeois en 1883.

se1884-69 La femme du buveur d’absinthe.

se1884-70 Secrets d’ivrognes.
Eng.: secrets of drunkards

se1884-71 La promenade du chien.
Maybe: 18xx, La Rencontre, 22×22, A2020/12/09 (iR14;aR14,p13)

se1884-72 Deux chiffonniers rentrant.
Compare no.82.

se1884-73 Invités attendant la noce ; appartient à M. Charles Hayem.
Probably : 1881-84, Invited guests waiting for the wedding, 53×69, Orsay (iR204;iR23;iR6;R3,p240;R16,p273). Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59).

se1884-74 Les deux vagabonds ; appartient à M. le docteur Petter.

se1884-75 Vieux ménage sans enfants.
Eng.: Old household without children. Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59). This smile is tinged with a bit of sadness when we look at the old idle household that walks through a dull nature an existence that it was not given to it to make radiant and that it did not know how to make useful (aR7,p88).

se1884-75bis La soupe de midi.

se1884-76 Sur le banc ; appartient à M..
Probably : 1881-83, Comrades, 39×56, Philadelphia MA (iR22;aR14,p13)

se1884-77 La rentrée des Chiffonniers; Salon de 1879 ; appartient à M. Deloison.
=S1879-2501

se1884-78, Les saltimbanques – L’orchestre en parade.
Probably : 1884ca, Saltimbanques, The Sideshow Orchestra, xx, private (iR6;aR14,p13)

se1884-79 Les saltimbanques – La parade.

se1884-80 Discussion d’arme et de politique ; appartient à M.
Eng.: Discussion of weapons and politics

se1884-81 Les buveurs d’absinthe ; appartient à M. Ernest Blum.
Probably 6IE-1881-91, Les Déclassés; appartient à M. Ernest Blum

se1884-82 Deux Vieux, causant.
Maybe: 18xx, La Rencontre, 22×22, A2020/12/09 (iR14;aR14,p13)

se1884-83 Le cabaret de la mère Billon

se1884-84 Vieux souvenirs ; appartient à M. H. Hecht

se1884-85, this number is missing

Marines:

se1884-86 L’Ancre
Maybe: 18xx, Sailors from the North, on panel, 68×53, NM Stockholm (iR6;aR7,p232;aR14,p13)

se1884-87 Le cheval blanc au port à charbon.

se1884-88 Les galets, appartient à M. Léonce Chafflot
Eng.: the pebbles

se1884-89 Le brick en réparation.

Portraits:

se1884-89bis Germaine, 4 mois ; appartient à Mme R.

se1884-90 Germaine, 8 mois ; appartient à M. R.

se1884-91 Germaine, 2 ans ; appartient à Mme Henry Gréville.

se1884-92 Germaine, 4 ans ; appartient à Mme R.

se1884-93 Portrait de l’auteur.
Compare : 6IE-1881-107, 1879ca, Artist painting (self-portrait), 52×53, Philadelphia MA (iR204;iR2;iR22)

se1884-94 Portrait de Mme R.
Maybe?: 18xx, Portrait of Mlle Raffaëlli, 55×32, A1994/03/16 (iR13;aR14,p14)

se1884-95 Vieille en noir, pastel.

Études pour mon “Portrait de M. Clémenceau dans une réunion électorale”
=SdAF1885-2054 Portrait de M. Clémenceau, dans une réunion électorale =1883, Georges Clemenceau Giving a Speech at the Cirque Fernando, 243×205, CdVersailles (iR2;iR1;aR7;R88)

se1884-96, M. Camille Pelletan

se1884-97, M. Charles Edmond

se1884-98 M. Gustave Geffroy
Maybe: 1xxx, Portrait de Gustave Geffroy, 26×16, A2017/03/02 (iR11;aR14,p14)

se1884-99, M. P. Clémenceau

se1884-100, M. A. Clémenceau

se1884-101, M. Michel Clémenceau

se1884-102, M. Georges Perrin

se1884-103, M. Durranc

se1884-104, M. Amiable
Maybe: 1883, Portrait de M. Louis Amiable (study), on board, 33×26, A2004/06/24 (iR11;iR15;aR14)

se1884-105, M. Crawford

se1884-106, M. Bartholomé

se1884-107, M. Barodet

se1884-108, M. Degouy

se1884-109, M. Rouanet

se1884-110, M. Mullem

se1884-111, M. Julien Sermet

se1884-112, M. Mario Sermet

se1884-113, M. Trébutien

se1884-114, M. Millot

se1884-115, M. S. Pichon

se1884-116, M. Tony Révillon

se1884-117, M. Lafont

se1884-118, M. le docteur Taule

se1884-119, M. Laumann

Sur Paris:

se1884-120, La place de l’Opéra; Ce tableau a été refusé au Salon de 1878.

se1884-121 La plaine Monceau; vue d’un quatrième étage ; appartient à M. Emile Soldi.
Compare: parc Monceau, Paris. Compare:  no.28.

se1884-122 Le Boulevard des Capucines.
Compare : SNBA-1907- 1003, Le boulevard des Capucines, Peinture. Beraldi,no2, who dates an etch with the same title at 1877 (R85XVI,p58). Delteil indicates that his no. 2 ‘Le Boulevard des Filles-du-Calvaire’ was titled by Beraldi as ‘le Boulevard des Capucines’.

se1884-123 Avenue des Champs-Elysées, le soir, aquarelle ; appartient à M. Georges Petit.

se1884-124 L’Avenue Marigny, au Printemps.
Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59). Maybe??: 18xx, Boulevard in Paris, 51×67, Goteborg Km (iR2;iR22;aR14,p15)

Caractères de la banlieu:
Eng.: Characters from the suburbs / Characteristics of the suburbs:

se1884-125 La locomotive
Compare : 6IE-1881-115.

se1884-126 Bord de l’eau à Gennevilliers ; appartient à M.
Compare : 6IE-1881-115

se1884-127 Le paysage de Saint-Ouen ; appartient à M. Georges Petit.

se1884-128 La plaine de Gennevilliers, au Printemps.
Compare : 5IE-1880-173

se1884-129 La Grue.
Eng. : The crane. Compare : 6IE-1881-101.

se1884-129bis Grand ciel d’été.

se1884-130 À Argenteuil.

se1884-131 Pluie de Septembre ; appartient à M. Charles Hayem.
Maybe??: 1xxx, Paris, un jour de Pluie, 28×40, A2001/11/02 (iR11;iR13;aR14,p16)

se1884-131bis La carrière de sable.
Eng. : sand quarry. Compare: 1897ca, D29, La carrière de sable (Terrain vague avec cheval attelé), etch, 15×23, A2014/12/07 (iR10;R138XVI,no29;aR14,p16)

se1884-132 Le quai de Levallois, pastel.

se1884-133 La route de Courbevoie ; appartient à M. Roudillon.

se1884-134 Quai de la Seine, à Asnières.

se1884-135 La barrière de Clichy ; appartient à M. Clapisson.
Compare : 6IE-1881-102

se1884-136 Le cheval de renfort.
The reinforcement horse. Nl : van de hulptroepen

se1884-136bis Maison en construction.

se1884-137 Le pont de Clichy.
Compare : 6IE-1881-105

se1884-138 Chiffonnier au bord de carrières ; appartient à M. Ayarra de Garray.
= 5IE-1881-111. Compare : no.15.

se1884-139 La voiture de maraîcher.
Eng.: The market gardener’s carriage. The same title as no.29.

se1884-140 Coin de terrain vague ; appartient à M. Madrazzo.

se1884-141 Le tas de verres cassés.
Compare : 6IE-1881- 121, Le tas de verres cassés, aquarelle.

se1884-141bis La plaine sous la neige.

se1884-142 La route d’Argenteuil ; appartient à M. Drake del Castillo.
= 6IE-1881-119        Route d’Argenteuil, aquarelle ; ; appartient à M. Drake del Castillo

se1884-143 L’eau, la neige, et le ciel ; appartient à M.

se1884-144 Route d’Argenteuil, miniature.
Compare no.142.

se1884-145 Gaîté des affiches sur nos murs ; appartient à M. Francis Magnard.
Eng.: The cheerfulness of the posters on our walls

se1884-146 Vue sur la cour d’un charron.
Eng.: View of a carriage’s yard. = 6IE-1881-106. Vue sur la cour d’un charron, aquarelle 

se1884-147 Assis sur le tas de cailloux ; appartient à M. de la Monta.
Eng.: Sitting on the pile of stones

Eaux-Fortes & dessins:

se1884-148 Chiffonnier éreinté, eau-forte. Trois états.
Compare : 5IE-1880-167

se1884-149 Quatre eaux-fortes illustrant: Croquis Parisiens, de J.-K. Huysmans.
Compare : 5IE-1880-166.

se1884-150 Maire et conseiller municipal, dessin à la plume.
Compare : 5IE-1880-175, Dessin de mon tableau, Maire et Conseiller municipal; appartient à M. Duranty.

se1884-151 Tête de chiffonnier.

Appendice:

se1884-152 bord de Seine.

se1884-153 La route de la Révolte, par la neige ; appartient à M. J.-K. Huysmans.
Compare : 5IE-1880-154, La route, hors les murs des fortifications, par la neige; appartient à M. Huysmans.

Sculpture:

se1884-B1 Le petit vieux sur son banc; plâtre métallisé; Le bronze, fondu à cire perdue par Gonou, sera exposé au Salon de 1884.

se1884-B2, Fantaise sur les costumes anglais du temps de Henry VIII; Buste plâtre argenté.

 

 

Salon des XX, Bruxelles, 1885

XX-1885- 1, l’ “Armée du Salut”.
Eng.: the “Salvation Army”. (iR1) Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59). Probably: 18xx, L’Armée du Salut à Jersey (coll Henri Duhem) (iR155;iR10;aR7,p180) =SdAF1886-3259.

XX-1885- 2, Le terrassier à la décharge, (Appartient à M. Georges Petit)
Eng.: The road worker at the dump site. (iR1) Compare: se1884-16, Terrassier à la décharge ; appartient à M. Georges Petit. Compare Delteil 31, 1897ca, Le terrassier à la décharge, etch, 27×21, xx (R138XVI,no31). I don’t render a suggestion. 

XX-1885-3, Le dimanche, au cabaret.
(iR1). Probably: 18xx, Le dimanche au cabaret, xx, xx (iR204;aR7,p43) = SdAF1886-3258. 

XX-1885-4, Déchargeur de sable.
Eng.: Déchargeur de sable. (iR1)

XX-1885-5, Les forgerons.
(iR1), Compare: SdAF-1885- 3131 *Forgerons ; dessin rehaussé à l’huile ; . Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59).

 

 

Salon de la Société National des Beaux-Arts (=SNBA):

(aR7,p224/5;iR1)

SNBA-1891:

Note: number 79-81 were attributed to Raffaëli (iR1), Jean-François, which must be an writing error.

SNBA-1891-79, Buste de paysan ; bas-relief (bronze)
(iR1). Note: Alexandre doesn’t mention this work (aR7). Maybe the same as: 1886-90ca, chiffonnier, bronze, 20×23, CAI Williamstown (Mx;iR10). In his overview of sculptures Alexandre renders a ‘Tête d’homme à la casquette’ (aR7,p230), which maybe is the same work (compare SNBA1891-79). 

SNBA-1891-80, Fleur de montagne ; Objets d’art
(iR1). Note: Alexandre doesn’t mention this work in his Salon overview (aR7), but in his overview of sculptures he mentions: Fleur de montagne; grande figure de femme nue (épreuve unique à cire perdue) (eng.: Mountain flower; large naked female figure).

SNBA-1891-81, La Servante; Objets d’art
(iR1). Note: Alexandre doesn’t mention this work (aR7). Maybe: La jeune menagère, bronze à cire perdue, xx (aR7,p169).

SNBA-1891- 751, Les grands arbres, Peinture
(iR1;aR7).

SNBA-1891- 752, Autour de la carrière de sable, Peinture
(iR1;aR7).

SNBA-1891- 753, Portrait de M. William Dannat, Peinture
Probably: 1891ca, Portrait of the artist William Dannat, on wood, 62×72, A20131126 (iR15;iR11;aR7,p224;iR1;aR7). Unique title.

SNBA-1891- 754, Le Grand-Père, Peinture (Appartient à M. Paul Gallimard)
(iR1;aR7).

SNBA-1891- 755, L’Avenue d’Argenteuil, Peinture, (Appartient à M. Paul Gallimard)
(iR1;aR7).

SNBA-1891- 756, La Plaine, Peinture
(iR1). Note: Alexandre doesn’t mention this work (aR7).

SNBA-1891- 1356, Le Remouleur (bas-relief bronze, fondu à cire perdue par Gruet).
(iR1). Note: Alexandre doesn’t mention this work in his Salon overview (aR7), but he depicts a picture at page 167 and mentions it in his overview of sculptures (p230). Eng.: The knife sharpener (bronze bas-relief, lost wax casting by Gruet). 

SNBA-1891- 1357, Buste de vieux (bronze, fondu à cire perdue par Gonon).
(iR1). Eng.: Bust of an old man (bronze, lost-wax cast by Gonon). Note: Alexandre doesn’t mention this work in his Salon overview (aR7), but he does render a picture of ‘Le Vieillard à la pipe’, bronze à cire perdue (aR7,p166), which is probably the same work. 

 

SNBA-1892(iR1;aR7)

peintures:
SNBA-1892-824,  Les vieux convalescents
.
Now: 1892, The recovering patients, 142×111, Orsay (iR204;iR23;iR2;aR7;iR1). Suggested by Joconde. Alexandre writes ‘the winter landscape, of a brown sadness; the appearance of the Sisters, passing like soft shadows among the bare trees, along this façade, whose appearance is like that of a hospitable woman, …'(aR7,p134). 
SNBA-1892-825,  La convalescente, (Appartient à MM. Boussod, Valadon et Cie).
Eng.: The recovering patient.  
SNBA-1892-826, Le Cheval blanc, (Appartient à M. Charles Hayem).
Eng.:
SNBA-1892-827, La route au soleil, (Appartient à MM. Boussod, Valadon et Cie). 
Maybe?: 18xx, la route ensoleillée (bank of the Seine), on board, 65×83, A2015/12/15 (iR11;iR204;iR15;iR2;iR1;aR7). Compare Delteil 99.
SNBA-1892-828, Le Sculpteur idéaliste, (Appartient à M. Mangi).
During his solo exhibition in 1884 number 66 had the same title.
SNBA-1892-829, Bonhomme faisant des liens, (Appartient à M. Victor Klotz).
Eng.:
SNBA-1892-830, Vieux chiffonier.
Eng.:
SNBA-1892-831, Dans la pleine, (Appartient à M. Manzi).
Eng.:
SNBA-1892-832, Fleurs.
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 
pastels:
SNBA-1892-1334,  Portrait d’Edmée à sept ans, (Appartient à M. Alphonse Daudet).
Eng.:
SNBA-1892-1335,  Portrait de Germaine, (Appartient à Mme R…).
Eng.:
SNBA-1892-1336,  Le Fruitier Napolitain et son Ane.
Eng.:
SNBA-1892-1337,  Fleurs et fruits.
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 
Sculpture: (iR1)
SNBA-1892-1559, Bonhomme assis (plâtre).
Alexandre renders this work under the title ‘bonhomme assis sur un bac’ (man sitting on a bench) (aR7,p165).
SNBA-1892-1560, Tête de petits bourgeois (bronze), exemplaire unique fondu à cire perdue par Gruet. In his overview of sculptures Alexandre renders a ‘Tête d’homme à la casquette’ (aR7,p230), which maybe is the same work (compare SNBA1891-79). Eng.: Man’s head with cap. Maybe the same work de depicted as ‘Discussion de Politique’, bronze, épreuve unique (aR7,p170).

 

SNBA-1893: (iR1;aR7)

Peintures:

SNBA-1893-856,  La Place Saint-Sulpice(Appartient à l'”American Art Association”)

SNBA-1893-857, A votre santé, la mère Bontemps !; (Appartient à l'”American Art Association”)
Probably a painting. To compare I render a colour etch with the same title: 1905, D60-3, A votre santé (La mère bontemps), colour etch, 22×20, BNF Paris (iR2;iR40;R138XVI,no60;aR7;iR1).
SNBA-1893-858, Les Nourrices sur la place de la Concorde ; (Appartient à l'”American Art Association”).
x
SNBA-1893-859,  Les Pêcheurs d’Écosse; (Appartient à M. Georges Petit).
Made in 1892 in Scotland; suggested by Sotheby’s (iR14; probably rendered with the probably incorrect number 839). Now: 1892, Pêcheurs d’Ecosse (Scottish fishermen), 63×75, MPP Paris (iR6;iR2;iR14;iR1;aR7). 

SNBA-1893-860, Le Marchand d’habits.
Compare 5IE-1880-157 with partly the same title, which was done with watercolour and pastel. Compare also se1884-9 with the same title.

SNBA-1893-861,  l’Arc de Triomphe .
x

SNBA-1893-862, Fleurs.
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 

SNBA-1893-863, Les vieux chevaux.
x

SNBA-1893-864, Le Dégel aux portes de Paris .
x

SNBA-1893-865, Allée d’arbres aux Champs-Élysées; matin fin d’hiver .
x

SNBA-1893-866, Place de la République .
x

SNBA-1893-867,  Route de la Révolte .
Maybe?: 18xx, la route de la Révolte (a lively square in Gennevilliers), 36×48 , A2008/04/18 (iR11;iR14;aR7,p152;iR1). 

SNBA-1893-868, Sur le boulevard.
x

 

SNBA-1894: 

(iR1;aR7). Note: Monneret (wrongly) writes he exhibited 7 coloured etchings (R88I,p706). 
Gravure originales en couleurs:
SNBA-1894-230, The Old Lady’s garden; (pointe sèche imprimée en cinq planches de couleur).
x

SNBA-1894-231, Bords de la Seine; (pointe sèche et aquatinte imprimée en couleur). 
x

SNBA-1894-232, Terrain vague; (eau-forte imprimée en couleur).
x

SNBA-1894-233, Le laveur de chiens; (eau-forte imprimée en couleur).
Eng.: The Dog Washer. 

SNBA-1894-234, La route aux grands arbres (pointe sèche imprimée en cinq planches de couleur).
x

SNBA-1894-235, Les Invalides; (pointe sèche imprimée en cinq planches de couleur).
x

SNBA-1895:
Raffaëlli didn’t exhibit because of a trip to the USA (aR7,224).

 

SNBA-1896:  (iR1;aR7)

SNBA-1896-1040, Les Invalides, tombeau de Napoléon.
x

SNBA-1896-1041, Nôtre-Dame de Paris.
x

SNBA-1896-1042, Portrait de ma fille Germaine.
x

SNBA-1896-1043, Place Saint-Michel, la Sainte-Chapelle.
x

SNBA-1896-1044, Fleurs jaune et blanches.
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 

SNBA-1896-1045, Fleurs rouges, roses, jaunes et blanches.
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 

 

SNBA-1897:  

Objets d’arts: (iR1)
SNBA-1897-326, Jeune femme à sa toilette (cire).
Additional info: (Pour être exécuté en orfèvrerie). Mentioned by Alexandre (aR7,p168+230).
Peinture: (iR1;aR7)
SNBA-1897-1041 , Notre-Dame de Paris. (compare 1896)

SNBA-1897-1042 , La Trinité.

SNBA-1897-1043 , L’église de
Saint-Germain-des-Prés
.

SNBA-1897-1044 , L’église de
Saint-Étienne-du-Mont
.

SNBA-1897-1045 , Le Vieux bonhomme et son chien.

SNBA-1897-1046 , Le vieux chiffonnier.

SNBA-1897-1047 , Parisienne aux Champs-Élysées.

SNBA-1897-1048, Jeune fille se regardant dans la glace. 
Maybe?: 18xx, A moment of admiration, on panel, 23×10, A2008/01/24 (iR15;iR11;iR1;aR7).

SNBA-1897-1049 , Philosophe et poête.

SNBA-1897-1050, Le marchand de marrons.

SNBA-1898:  (iR1;aR7)

SNBA-1898- 1014, Portrait de ma fille, Peinture

SNBA-1898- 1015, Portrait de Mlle Marie-Louise (Etats-Unis), Peinture

SNBA-1898- 1016, L’Institut, Peinture

SNBA-1898- 1017, Aux Champs-Elysées, (Appartient à M. W.-A. Clark), Peinture

SNBA-1898- 1018, Fleurs roses, jaunes et blanches, Peinture
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 

SNBA-1898- 1019, Dahlias, Peinture
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 

SNBA-1898- 1804, Portrait de Mlle Anne de N… (pastel)

 

SNBA-1899:  (iR1)

SNBA-1899- 1197, Notre-Dame de Paris, Peinture

SNBA-1899- 1198, La place de la Trinité, Peinture

SNBA-1899- 1199, Aux Champs-Elysées, Peinture

SNBA-1899- 1200, La jeune fille aux bleuets, Peinture
Maybe?: 18xx, Jeune fille aux bleuets assise sur son lit, on panel, 70×54, A2008/12/05 (iR13;iR1;aR7), the title corresponds. Or: 1885-95, Le Reveil, 78×67, Birmingham MT (iR6;iR2;iR1;aR7), also depicting a young woman with cornflowers on her bed.

SNBA-1899- 1201, Fleurs, Peinture
SNBA-1899- 1202, Fleurs, Peinture
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 

Coulour etchings, dry point:

SNBA-1899- 2240, Au bord de l’eau (pointe sèche originale en couleurs), (Appartient à M. Pellet)

SNBA-1899- 2241, L’actrice en scène (pointe sèche originale en couleurs), (Appartient à M. Sagot)

SNBA-1899-2242, A sa toilette (pointe sèche originale en couleurs), (Appartient à M. Sagot)

SNBA-1899- 2243, L’arbre jaune (pointe sèche originale en couleurs), (Appartient à M. Sagot)

SNBA-1899- 2244, L’actrice en voyage (pointe sèche originale en couleurs), (Appartient à M. Pellet)

SNBA-1899- 2245, La lettre (pointe sèche originale en couleurs), (Appartient à M. Pellet)

SNBA-1899- 2246, Les deux amis (pointe sèche originale en couleurs)

SNBA-1899- 2247, La petite rue (pointe sèche originale en couleurs)

SNBA-1899- 2248, A Gennevilliers (pointe sèche originale en couleurs)

SNBA-1899- 2249, La promenade du dimanche (pointe sèche originale en couleurs), (Appartient à M. Pellet)

 

SNBA-1900:
Alexandre indicates that Raffaëlli joined the Exposition Universelle (aR7).
The Salon database has no data of a SNBA in 1900. 

 

SNBA-1901:  (aR7)

Note: the Salon database has no data of the SNBA of 1901. 

La demoiselle d’honneur.
Alexandre writes ‘She’s a pretty bourgeois young lady’ (aR7,p127). 
L’inondation à Gennevilliers.
Boulevard des Italiens.
Notre-Dame de Paris.
Bord de la Seine.

 

SNBA-1902:  (iR1)
Serie Paysages de France:

SNBA-1902- 967, La porte Saint-Denis, Peinture

SNBA-1902- 968, Portrait de Mlle Andrée G…, (Appartient à M. Albert Gallot), Peinture

SNBA-1902- 969, Bouquet d’arbres au bord de l’eau, Peinture

SNBA-1902- 970, Bord de la Seine à Maisons-Laffitte, (Appartient à M. Ch. de B.), Peinture

SNBA-1902- 971, Le pont de Maisons-Laffitte, Peinture

SNBA-1902- 972, A Sartrouville, Peinture

Note: Alexandre (aR7) renders other titles, who also were exhibited in 1905.

La mare aux canards.
Le jour du marché.
La route abandonnée
Effet de soir

 

SNBA-1903:  (iRa;aR7)

SNBA-1903- 1071, La jeune fille au petit chien, Peinture
Maybe?: 1899, Portrait of an elegant lady (with her dog), 85×46, A2016/05/03 (iR2;iR14;iR11;iR1;aR7). The title corresponds; this is the only picture I know depicting a young woman with her dog; it was painted 4 years earlier which makes it a less certain option.

SNBA-1903- 1072, Le carrefour Drouot, (Appartient à M. G. Doenillet), Peinture

SNBA-1903- 1073, Jeune fille aux œillets, Peinture

SNBA-1903- 1074, Le pont des Saints-Pères, Peinture

SNBA-1903- 1075, Jeune femme à sa toilette, Peinture

 

SNBA-1904: (aR7) 

Note: the Salon database has no data of the SNBA of 1904. Alexandre renders:
Paysages de Bretagne:
La maison blanche (soleil couchant).
La chute d’eau du moulin.
La maison blanche (printemps).
Le moulin.
La petite rivière.
Les maisons au bord de l’eau.
Diverses gravures originales en couleurs.

 

SNBA-1905:  (aR7)

Note1: the Salon database has no data of the SNBA of 1905. 
Note 2: Many titles are the same as exhibited in 1902 according to Alexandre (aR7), but not according to the Salon database (iR1). 

SNBA-1905-x, La mare aux canards.
x
SNBA-1905-x, Le jour du marché.
To compare I render: 1905, Le jour du marché (market day), colour etch, 15×19, A2016/03/08 (iR11;aR7). Note: at least 3 titles exhibited in 1905 correspond with etchings Raffaëlli made, so maybe he exhibited some etchings.

SNBA-1905-x, La route abandonnée.
Probably: 1904, The abandoned road, 155×188, MNBA Buenos Aires (iR6;iR35;aR7). To compare I also render the colour etch made of this painting: 1905, D62, La route abandonnée, colour etch ps, 19×22, A2013/04/29 (iR11;aR7;R138XVI,no62). Curiously it is not an reverse image. Note: at least 3 titles exhibited in 1905 correspond with etchings Raffaëlli made, so maybe he exhibited some etchings. 

SNBA-1905-x, Effet de soir.
x

SNBA-1905-x, Le village sur la colline.
To compare I render: 1905, D64-2, Le Village sur la Colline (the village on the hill), colour etch ps, 21×28, A2006/05/04 (iR11;iR40;R138XVI,no64;aR7). Note: at least 3 titles exhibited in 1905 correspond with etchings Raffaëlli made, so maybe he exhibited some etchings.

SNBA-1905-x, La petite rivière.
x

 

SNBA-1906:
Note1: Alexandre writes that Raffaëlli didn’t admit to the Salon of 1906 (aR7).

 

SNBA-1907:  (iR1;aR7)

SNBA-1907- 1001, La vieille femme dans la neige, (Appartient au musée de Buenos-Ayres), Peinture
Maybe: 18xx, Old woman in the snow, 239×95, MNBA Buenos Aires (iR6;iR1;aR7). The title corresponds; it is quite a large painting, the messures correspond no.1002.

SNBA-1907- 1002, L’automne de la vie, Peinture
Probably: 1xxx, The Autumn of Life, 231×95, A1995/02/15 (iR13;iR17;iR15;iR1;aR7). The title corresponds; it is quite a large painting, the messures correspond no.1001.

SNBA-1907- 1003, Le boulevard des Capucines, Peinture
Compare: in 1884 with his solo exhibition under number 122 there was a work with the same title. Beraldi,no2, dates an etch with the same title at 1877 (R85XVI,p58).

SNBA-1907- 1004, Fleur de banlieue, Peinture

SNBA-1907- 1005, Le quai sous la neige, Peinture

SNBA-1907- 1006, La route, dans la banlieue, Peinture

Colour etchings:

SNBA-1907- 1751, Le Grand-Prix de Paris (original), Estampes en couleurs

SNBA-1907- 1752, Le rémouleur (original), Estampes en couleurs

SNBA-1907- 1753, L’âne dans la neige (original), Estampes en couleurs

SNBA-1907- 1754, L’orage (original), Estampes en couleurs
Compare: se1884-60, L’orage, pastel.

SNBA-1907- 1755, Les petits ânes (original), Estampes en couleurs

SNBA-1907- 1756, La neige (original), Estampes en couleurs

 

SNBA-1908:  (iR1;aR7)

SNBA-1908- 966, L ‘apprentie, Peinture
Now: 1907, The apprenticeship, 207×103, MBA Pau (iR204;aR7;iR1;iR23). The unique title corresponds; it is quite a large painting, the messures correspond no.967. Suggested by Joconde (iR23). Alexandre writes ‘The beautiful Apprentice in a red cape’ (aR7,p32),which affirms the suggestion of Joconde. 

SNBA-1908- 967, Le bucheron et son chien, Peinture
Probably: 18xx, The woodcutter (lumberjack) and his dog, 226×106, MNBA Buenos Aires (iR6;iR22;iR1;aR7). The title corresponds; it is quite a large painting, the messures correspond no.966. Alexandre (1909) mentions there was a work in the musée de Buenos-Ayres titled ‘Le Jardinier’ (aR7,p232). Compare also 5IE-1880-179hc1. 

SNBA-1908- 968, Bouquet de fleurs, Appartient à M. de B…, Peinture
Raffaëlli regularly exhibited flower still lifes at the SNBA: 1892-832+1337; 1893-862; 1896-1044+1045; 1898-1018+1019; 1899-1201+1202;1908-968. Just looking at the titles it is impossible to give a quite certain suggestion of what painting was exhibited. I render 3 pictures to give an impression (see). 

SNBA-1908-969, La place de la Madeleine, Peinture

SNBA-1908- 970, Le boulevard des Italiens, Peinture

SNBA-1908- 971, Banlieue de Paris, Peinture

Colour etchings:

SNBA-1908- 1801, Le Boulevard des Italiens (gravure originale en couleurs)

SNBA-1908- 1802, Le vieux chêne (gravure originale en couleurs)

SNBA-1908- 1803, La place de la Révolte (gravure originale en couleurs)

SNBA-1908- 1804, Le toit rouge (gravure originale en couleurs)

SNBA-1908- 1805, La Seine à Bezons (gravure originale en couleurs)

SNBA-1908- 1806, La route de la Révolte (gravure originale en couleurs)

 

SNBA-1909:
Raffaëlli didn’t exhibit (iR1).

 

SNBA-1910:  (iR1)

SNBA-1910- 1036, L’inondation, Peinture
Maybe: 1910, the flood, 65×84, MBA Tourcoing (iR204;iR2;R88I,p706;iR1).

SNBA-1910- 1037, Le Pont Neuf, Appartient à M. Roger Bollack, Peinture
x

SNBA-1910- 1038, Le pont Alexandre III, Peinture
x

SNBA-1910- 1039, L’inondation dans la plaine, Peinture
x

SNBA-1910- 1040, L’Arc-de-Triomphe, Peinture
x

SNBA-1910- 1041, Les Champs-Elysées ; la promenade, Peinture
x

SNBA-1912-1080, Petites maisons au bord de l’eau (?)
According to Joconde Raffaëlli exhibited this work: 1912, Small Houses on the Banks of the Oise, on carton, 65×85, MLS L’Isle-Adam (Orsay) (iR2;aR4=iR23;R3,p240)

SNBA1924-1016, Campo San Giovanni E Paolo, Venise (?)
According to Sotheby’s this work was exhibited at the Salon of 1924: 1xxx, The court of Saint John and Paul in Venice, on board, 64×86, A2015/05/07 (iR11;iR14;iR204;iR2;R88).

 

La Société des Peintures du Paris Moderne (=PM19xx-xx): (R234;iR261)

PM1905-73. La Route de la Révolte, painting

PM1905-74. Le Terrain vague, painting

(Jean-François Raffaëlli 1, rue Chardin, Paris)

PM1907-236. Raffaelli (J.-F.): Paris: miniut

PM1913-160. Raffaëlli (J.-F.): L’Église St-Nicolas du Chardonnet, painting: oil

PM1913-161. Raffaëlli (J.-F.): Les Champs-Elysées, painting: oil

 

Other exhibitions: (iR1)

Toulouse, Salon de l’union artistique : 1892 + 1893.

Berlin Sécession : 1900 

Salon Mulhouse : 1902 + 05 + 08 + 11