Raffaëlli, Jean-François, account

under construction

Jean-François Raffaëlli (1850-1924)

Account

 

 

 

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.

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).

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). There are no reviews. I render the Berson / Delteil image. As an uncertain suggeston 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). 

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.

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’.
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 later litho: 1895, L’homme à la canne, litho, 62×47, A2014/12/04 (iR11). 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. To compare I render an etch maybe 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) .

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. 

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). 

5IE-1880-164        Eaux-fortes et pointe sèche,
Maybe this 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.

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.

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)
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). Probably also exhibited as se1884-22.
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.

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.

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 number it refers.  

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.

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).

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.

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). 

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. As a very uncertain sugggestion I render: 18xx, Le Provincial à Paris, mixed on panel, 51×66, A2020/11/20 (iR14;aR7,p95). 

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 suggestion I render: 1xxx, Portrait of a young girl, 54×46, A2015/12/14 (iR11). 

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). 

5IE-1880-179hc  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.

l’Homme en blouse
x. Note: 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).

 

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.

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.

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).

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.

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). 

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.’ 

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.

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) .

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).

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).

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 Delteil no.73 (R90II,p185;R138XVI,no73;aR2).

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.

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.

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).

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). 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).

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). 

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);’.

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).

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). 

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). 

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). 

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). 

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, but doesn’t render a picture (R90II,p186). 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).

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). 

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). 

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.

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). 

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. 

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:

The Salon database sometimes writes Raffaëlli 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.
Jean-François Raffaëlli was a pupil of Gérôme (iR1). 
1870: he lived at 13, rue Girardon, Paris (iR1)
1873-77: he lived at 35, rue Notre-Dame-de-Lorette, Paris (iR1)
1879-86: he lived 19, rue de la Bibliothèque, Asnière (Seine) (iR1;R2,p313+355)
Another source I used is the work of Arsène Alexandre (1909 =aR7,p223-226) and also Joconde (aR4=iR23).

 

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 (aR7). Beraldi mentions that a drawing of this work was used for a woodblock print (aR1=R85XI,no15,p59).

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). Probably the same as se1884-3, Chiffonier et son chien; Salon de 1879 (aR14).

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) 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). 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)

SdAF-1886- 1954 *Chez le fondeur ; Peinture ; bas-relief
(iR1;aR7).

SdAF-1886- 1955 *Midi ; effet de givre ; Peinture
(iR1;aR7).

SdAF-1886- 3258 *Le dimanche au cabaret ; dessin rehaussé
(iR1). Note: Alexandre doesn’t mention this work (aR7).

SdAF-1886- 3259 *L’armée du Salut ; dessin rehaussé
(iR1). Note: Alexandre doesn’t mention this work (aR7).

SdAF-1887-1977 *La Belle Matinée, peinture.
(iR1;aR7,p224).

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. 

SdAF-1888-2098  Portrait d’E. de Goncourt.
(iR1;aR7,p224). 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). 

SdAF-1889-2231 Les Buveurs d’absinthe (Appartient à M. E. Blum)
(iR1;aR7,p224). 

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).

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 (aR7). Compare: se1884-15, Terrassier à la carrière ; appartient à M. Georges Petit.

 

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).

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.

XX-1885-3, Le dimanche, au cabaret.
(iR1)

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).

SNBA-1891-80, Fleur de montagne ; Objets d’art
(iR1). Note: Alexandre doesn’t mention this work (aR7).Eng.: Mountain flower. 

SNBA-1891-81, La Servante; Objets d’art
(iR1). Note: Alexandre doesn’t mention this work (aR7).

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 (aR7). 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). Note: Alexandre doesn’t mention this work (aR7). Eng.: Bust of an old man (bronze, lost-wax cast by Gonon)

 

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).
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).
Eng.:
SNBA-1892-1560, Tête de petits bourgeois (bronze), exemplaire unique fondu à cire perdue par Gruet.
Eng.:

 

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).
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.

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).

 

Other exhibitions: (iR1)

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

Berlin Sécession : 1900 

Salon Mulhouse : 1902 + 05 + 08 + 11