Renoir account

almost finished

Auguste Renoir (1841-1919)

Account expositions

 

 

Introduction:

Here you will find an account of which paintings Renoir has exhibited at the ‘impressionist’ expositions in 1874,  1876, 1877 and 1882 and of the works he submitted to the Salon.
As indicated earlier the indication of a painting is often uncertain. Often there are more than one options. In my choices I mainly have followed the suggestions of Moffett (1986, R2). He mostly follows the Catalogue Raisonné of Daulte (1971=R108). Information about the works he exhibited at the Salon, I found in the Salon database of musée d’Orsay (=iR1, see). Additionally I used the books of Raeburn (1985, R31) and Dony (1972/1976, R30) about Renoir. When I have no suggestions of a reliabel source I make connections between the french titles in the catalogues and the contemporary titles of the paintings. These suggestions of mine are very uncertain or just a suggestion to compare. But still I hope these suggestions give an impression of what Renoir could have exhibited at these expositions.
For the pictures I made use of the marvelous databases of pictures of the-athenaeum.org (=iR2); wikiart.org (=iR7) ; art-renoir.com (=iR52); the webgallery of impressionism.co.uk (=iR22). For zoom options you can look at the Google-Art-Project (=iR8). For the general references (=R) see. For references to internet pages (=iR) see. For references to the additional sources (=aR) see at the bottom of the main page about Renoir.

 

 

The first ‘impressionist’ exposition 1874:

GENERAL OVERVIEW:
  • catalogue numbers 141 – 147(+hc?)
  • Dony (R30,no99) suggest a work that was not in the catalogue (=hc), but it is very questionable if this was true (see below)
  • so I assume Renoir exhibited 7 works and maybe also 1hc;
    • one of them was a pastel (no.146)
    • 0x an indication of place
    • 0x an indication of time, season or weather
    • 1x a study
    • 0x a loan
  • I will refer to the suggestions of Moffett (1986=R2,p122), Berson (1996=R90II,p12+27/8), Dayez (1974=R87,p251), Dony / Braun (1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108).  I sometimes refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185). Whenever Berson omits a work, this means there are no contemporary reviews.
  • see link for the pictures.
THE CATALOGUE NUMBERS:

1IE-1874-141        Danseuse

Moffett (p.122) suggests CR110. Dayez, Berson, Dony (no.126) and Raeburn (p.197) confirm this, now: 1874, CR110, Dancer, 142×94, NGA Washington (iRx;R2,p140;R90II,p12). F. de Gantès (1874/04/23) reviews ‘at the age of thirteen, and in the study of the fifth pose’ (R90I,p23)

1IE-1874-142        La Loge

Moffett (p.122) suggests CR116. Dayez, Berson, Dony (no.125) and Raeburn (no.26) confirm this, now: 1874, CR116, La Loge, 80×74, Courtauld London (iR2;R2,p107;R90II,p12). The models are Edmond Renoir and Nini.

1IE-1874-143        Parisienne

Moffett (p.122) suggests CR102. Dayez, Berson, Dony (no.127) and Raeburn (no.28) confirm this, now: 1874, La Parisienne, CR102, 160×106, NMW Cardiff (iR6;iR2;R90II,p12). The model is Henriëtte Henriot. It was first bought by Henri Rouart (R4, p204); see also his collection.

1IE-1874-144        Moissonneurs

Moffett (p.122) suggests a painting in a private collection in Zurich, Dony (no. 100) suggests a work from the Bührle collection in Zurich. Berson (referring to Fezzi, no.100) suggests also a work in a private collection in Switzerland, 58×72, probably: 1873, The Harvesters, 60×73, Bührle Zurich (iR2;R90II,p12+28;R30,no100). Marc de Montifaud (1874/05/01) mentions this work ‘Moissonneuses’ which refers to women harvesting. The suggested work depicts 3 men and 2 women and the men are most clearly harvesting.

1IE-1874-145        Fleurs

Moffett (p.122) suggests a painting in the MFA Boston. Dayez and Berson (referring to Fezzi,no.36) suggest probably the same, now: 1869, Mixed flowers in an earthen pot, 65×54, MFA Boston (iR52;R90II,p12+28;R87,p251). This is Dony no.36; Dony doesn’t confirm the suggestion; Raeburn doesn’t either (no.14). Compare Monet, CR139.

1IE-1874-146        Croquis (pastel)

Eng.: croquis means study. Moffett doesn’t give a suggestion, nor does Dayez, Berson omits this work. Just to compare I render: 1875ca, At the Moulin de la Galette, pastel, xx, NMS Belgrade.

1IE-1874-147        Tête de femme

Moffett (p.122) suggests CR118, which is now in a private collection in Paris. Dayez mentions it was in the former collection of Durand-Ruel in Paris (r87,p251). Berson calls the present location unknown; messures: 32×24 (R90II,p12+28). Dony also mentions it , but doesn’t confirm it was exhibited (R30,no.140). Kostenevich refers to this work (R15, p200). I render the black and white picture from Berson (R90II,p28). This work resembles a portrait that is now in the Hermitage (R15,p201;R30,no.433); there is discussion about when this work was made. To compare I will also render this work: 1874-80, Head of a Woman, 39×36, Hermitage (iR2;iR10;iR6;R30,no433;R15,p201). Ernest Chesnau (1874/05/07) reviews ‘a hateful, inexplicable, heavy, black Tête de femme‘ (R90I,p18).

1IE-1874-147+hc

Moffett doesn’t mention a work the was shown outside the catalogue (=hc = hors catalogue); neither does Dayez, Berson or Raeburn (R31,p197). But Dony (R30,no.99) mentions ‘the drinking place’ was shown at the first impressionist exposition in 1874. The work is now known as ‘the field’ , but I can’t recognize a drinking place. I hope there is or will be further investigation on this suggestion of Dony, who doesn’t refer to sources. Anyway a quick scan of the contemporary reviews, doesn’t affirm this suggestion either (R90I,p9-43). So I assume there was not a work exhibited outside the catalogue. Still I will render it as a possibility for further investigation.

 

 

The second ‘impressionist’ exposition 1876:

Overview:
  • catalogue numbers: 209-226
  • Moffett (p164) suggests Renoir exhibited a self-portrait outside the catalogue (=hc = hors catalogue)
  • so he exhibited 18+1hc=19 works
    • 16 of them were portraits
    • 1 was a pastel (no. 226)
    • 1x an indication of place
    • 0x an indication of time, season or weather
    • 1x a study
    • 12 of them were loans
      • 6 of Chocquet (wrongly written as Choquet)
      • 2 of Poupin
      • 2 of Dolfus
      • 1 of Legrand
      • 1 of Manet
  • I will refer to the suggestions of Moffett (1986=R2,p164), Berson (1996=R90II,p43-45+62-64), Dony / Braun (1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108).  I sometimes refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185). Whenever Berson omits a work, this means there are no contemporary reviews.
  • Berson mentions that the works of Renoir exhibited had a lower number than in the catalogue. No.209 was exhibited as no.195. Maybe the 14 works of Léon Ottin were added later. (R90II,p44).
  • See link for the pictures.
THE CATALOGUE NUMBERS:

2IE-1876-209        femme et enfant ; Appartient à M. Poupin

Moffett doesn’t give a suggestion. Berson omits this work. I render 3 (very) uncertain options: 1. 1873-77, Woman with Parasol and a Small Child on a Sunlit Hillside, 47×56, MFA Boston (iRx;R30,no303); 2. CR104; Washington; 51x68cm; Camille Monet and her son Jean in the garden at Argenteuil, 1874; 3. ‘the first step’ painted in 1876 or 1880, see Dony 414.

2IE-1876-210        Sur la Terrasse ; Appartient à M. Choquet (sic)

Moffett doesn’t give a suggestion. Berson suggests CR173, now: 1876, CR173, Portrait of Mme Chocquet by the window, 67×54, Pushkin (iR10;iR202;iR6;R90II,p43;R30,no223). Dony doesn’t confirm this suggestion.

2IE-1876-211        portrait ; Appartient à M. Choquet (sic)

Moffett doesn’t give a suggestion. Daulte suggests CR176??, now??: 1875, Madame Victor Chocquet, 75×60, Sg Stuttgart (iR2;R30,no176;R90II,p44). Renoir painted a few portraits of madame Chocquet; this painting has a similar background as 2IE-1876-214; compare also 2IE-1876-213. Dony doesn’t affirm this suggestion. Berson opposites this suggestion, referring to the review of Enault who mentions it was a male portrait (R90II,p44). Berson doesn’t give an alternative. I’ll stick to the Mme Chocquet painting.

2IE-1876-212        Etude

Moffett (p164+184) suggests CR201; this is confirmed by Berson, Dony (no.204) and Raeburn (no.36). Now: 1876ca, CR201, Study, torso of a woman in the sunlight, 81×65, Orsay (iR52;R2,p184;R90II,p44;R30,no204). This painting was part of the Caillebotte Bequest in 1894. The model was Anna Leboeuf.

2IE-1876-213        Liseuse ; Appartient à M. Choquet (sic)

Moffett (p164) suggests CR174; this is confirmed by Berson and Dony, now: 1876, Madame Chocquet Reading, 65×54, private NY, (iRx;R90II,p44;R30,no224).

2IE-1876-214        Tête d’Homme; Appartient à M. Choquet (sic)

Moffett and Berson suggest CR175 or CR176, now: 1876, CR175, Victor Chocquet, 46×36, Winterthur (iR2;R90II,p44;R30,no226) and: 1875, CR176, Portrait of Victor Chocquet, 46×37, Harvard Cambridge (iRx;R90II,p44;R30,no225). Dony (no.225) confirms the choice for CR176. Rewald (1969) and Daulte (1971) choose for CR175 (R90II,p44). The Leroy (1876/04/15) review mentions ‘His gentleman with green and blue sky hair’ which pleads more for CR175. He also mentions ‘spotted like a jaguar’ referring to ‘son particulier’; this meaning is not clear to me. (R90I,p88) Bertall (1876/04/15) reviews ‘the portrait of a man, with green hair, a pink beard and a face cut out of calfskin’ (R90I,p57+58). This review also pleads more for CR175. Alex Pothey (1876/03/31) writes about a ‘blond and fine artwork’ (R90I,p104). The reviews of Chaumelin, Enault (and Rivière) don’t give a description that helps us further. Against CR176 also pleads the absence of a reference to the work of Delacroix behind the portrait. Enault (1876/04/10) reviews ‘those two portraits of men catalogued under the numbers 197 (=211) and 200 (=214)’ (R90I,p82). And Chaumelin ‘His portraits numbers 197 (=211) and 200 (=214) are not very lively’ (R90I,p68). This could suggest that both works were exhibited. But the Alex Pothey (1876/03/31) review refers to one portrait of Chocquet (R90I,p104). Bertall (1876/04/15) just mentions ‘the portrait of a man’ and doesn’t refer to any other work of Renoir (R90I,p57+58). Leroy neither does refer to no.211 (R90I,p88). So I suppose only CR175 was exhibited, but I also render CR176 to compare.

2IE-1876-215        portrait d’enfant ; Appartient à M. Choquet (sic)

Moffett doesn’t give a suggestion. Berson omits this work. I render 3 very uncertain options: 1. ‘girl with a watering can’; (Dony no.228 writes this painting is from the collection of Paul Bérard); 2. 1875ca, Child with a hoop , 62×48, Baltimore MA, (iR52;R30,no154); 3. 1875ca, Girl with a Dog, 31×23, MA Philadelphia (iRx;R30,no155).

2IE-1876-216        tête d’enfant ; Appartient à M. Choquet (sic)

Moffett doesn’t give a suggestion; Dony neither. Berson omits this work. As an uncertain option I give ‘portraits of Marie-Sophie Chocquet’. Dony (no.214) writes Renoir made this picture using several photo’s

2IE-1876-217        tête de femme ; Appartient à M. Dolfus

Moffett (p164) suggests CR167, Berson follows, now: 1876ca, CR167, woman with a rose (in her hair), 33×27, AMBR Remagen (iR10;iR6;iR59;R90II,p63;R30,no253). Dony doens’t confirm this suggestion. Compare also 1IE-1874-147 with the same title.

2IE-1876-218        portrait de Mlle S.

Moffett doesn’t give a suggestion. Berson omits this work. As an uncertain option I give: portrait of Jeanne Sisley, 1875 (see Dony, no.168).

2IE-1876-219        Femme au piano ; Appartient à M. Poupin

Moffett and Berson suggest CR187, now: 1876, CR187, Young Woman at the Piano, 93×74, AI Chicago (iR2;R90II,p44;R30,no232). Dony (no.232) and Raeburn (no.35) confirm this suggestion.

2IE-1876-220        portrait de M. M. ; Appartient à M. Dolfus

Moffett (p164+185) suggests three options: 1. CR132, now: 1875, CR132, portrait of Claude Monet, 84×60, Orsay (iR52;R90II,p63;R2,p185;R30,no163), Berson prefers this option, Dony confirms it. 2. CR87, now: 1873-74, CR87, Claude Monet (The Reader), 65×50, Mellon Upperville (iR2;R90II,p44;R30,no85), Daulte confirms this option, Berson doesn’t prefer it, Dony doesn’t confirm it. 3. 1872ca, CR22, Claude Monet reading, 61×50, Marmottan (iR2;R30,no84), nor Berson, nor Dony confirm this third option. Alex Pothey (1876/03/31) calls this work more ‘vigorous’ than the portrait of Chocquet, no.214 (R90I,p104).

2IE-1876-221        déjeuner chez Fournaise

Moffett and Berson suggests CR305, now: 1875, CR305, Lunch at the Restaurant Fournaise, 55×66, AI Chicago (Mx;R90II,p63;R30,no452). Dony (no.452) doesn’t confirm this suggestion; Dony dates this picture in 1881 (but adds an ?; Feist (p.51) dates it 1879; Raeburn (no.48; CR305) ca.1879 and says it was painted in Chatou or Nogent-sur-Marne. If it was painted after 1876 it couldn’t be exhibited in 1876. But the Art Institute of Chicago confirms Moffett’s suggestion (see; also for detailed info and pictures). They state the picture is made in 1875 instead of ca. 1879-1881. (note: they (wrongly?) mention the Daulte CR number as 307 instead of 305). Note that Renoir painted a portrait of ‘père Fournaise’ and Alphonsine Fournaise in 1875 (see Dony, no.182 + 183); so it’s likely that he painted other pictures in and around restaurant Fournaise. Restaurant Fournaise lies on the Ile de Chatou, see google-maps ; more info see .

2IE-1876-222        portrait de Mme D

Moffett doesn’t give a suggestion. Berson omits this work. As a very uncertain suggestion I give 1873, Madame Darras as an Horsewoman, 48×40, Orsay (iR2;R30,no103). Dony (no.103) doesn’t confirm my suggestion. This portrait is also an option for S1873-SdR-91. Another option could be ‘portrait of madame Daudet’, see 3IE-1877-189.

2IE-1876-223        portrait de jeune fille ; Appartient à M. Legrand

Moffett and Berson suggest CR141, part of the McIlhenny collection, now: 1875, Mlle Legrand (the attentive girl), 81×60, Philadelphia MA (iR2;R90II,p64). Dony (no.184) doesn’t confirm this; Raeburn indirectly does (p.197). Maybe another option is ‘girl with jump rope’ (1876; Barnes Foundation; see); Dony (no.230) indicates the girl as Delphine Legrand.

2IE-1876-224        Frédéric Bazille, peintre tué à Beaune-la-Rolande ; Appartient à M. Manet

Eng.: Fréderic Bazille, painter killed at Beaune-la-Rolande. Moffett and Berson suggest CR28, now: 1867, CR28, Frederic Bazille Painting ‘The Heron’, 105×74, Orsay (iR2;R90II,R2,p150). Dony doesn’t confirm this; Raeburn (no.6) does. Painted in the atelier of Bazille at 20, Rue Visconti, Paris (see Dony no.18); owned by Manet (R4, p.186). Pothey (1876/03/31) reviews ‘he (Bazille) is sitting, working at his easel’  (R90I,p104)

2IE-1876-225        La promenade

Moffett and Berson suggest CR111, now: 1875-76, CR111, Mother and Children, 170×108, Frick coll (iR22;R90II,p64). Dony (no.158) doesn’t confirm this; Raeburn does (p.197). Emile Blémont (1876/04/09) reviews ‘A young girl walking gently pushing her two little girls in front of her…’ (R90I,p63) Note: The woman looks more a nanni, than a mother.

2IE-1876-226        portrait de M H. (pastel)

Moffett doesn’t give a suggestion. Berson omits this work. Renoir painted many pictures of Henriëtte Henriot, but the title indicates a ‘monsieur’ and not a madame. A suggestion could be Henriëtte Henriot in a theatre costume (as travestit) (Dony, no.159); Renoir painted one time a portret of madame Hartmann, see Dony 136; but I can’t find a portrait of monsieur Hartmann. searching on medium at the-athenaeum.org I can’t find a pastel with a portrait  of a man at all. To compare I give 1875 or 78), Portrait of Lucien Daudet, pastel, 52×42, A2011/06/21 (iR2;iR11).

2IE-1876-226+hc   self-portrait

Moffett and Berson suggest CR157 with a perhaps, now: 1875ca, CR157, Self Portrait, 39×32, CAI Williamstown (iR2;R90II,p64;R30,no180). Dony (no.180) doesn’t confirm this. Another option may be: ‘self-portrait at the age of 35’ (1876, see Dony, no.233).

 

The third ‘impressionist’  exposition 1877:

Overview:

  • catalogue numbers: 185-205
  • all containing one work
  • so Renoir showed 21 works
    • 11 of them were portraits
    • 2 of them were still lives
    • 3x an indication of place
    • 1x an indication of time, season or weather
    • 1x a study
    • 4 of them were loans
      • 2 of Charpentier
  • I will refer to the suggestions of Moffett (1986=R2,p206), Berson (1996=R90II,p81-83+100/1), Dony / Braun (1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108).  I sometimes refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185). Whenever Berson omits a work, this means there are no contemporary reviews.
  • See link for the pictures.
THE CATALOGUE NUMBERS:

3IE-1877-185        La Balançoire ; Appartient à M.C.

Moffett suggests (p206+234) CR202; Berson (p100), Dony (no.242) and Raeburn (no.39) confirm this. This painting was part of the Caillebotte bequest in 1894 (R4, p.210)

3IE-1877-186        Bal du Moulin de la Galette

Moffett suggests (p206, 188 +236) CR209; Berson (p100) and Raeburn (no40) confirm this. This painting was part of the Caillebotte bequest in 1894. This work was showed in room 3.

3IE-1877-187        portrait de madame G.C. ; Appartient à M. Charpentier

Moffett suggests (p206) CR226; Berson (p100), Dony (no.269) and Raeburn (p.197) confirm this.

3IE-1877-188        portrait de mademoiselle G.C. ; Appartient à M. Charpentier

Moffett suggests (p206) CR178; Berson (p101) confirms this; Braun / Dony (no. 257) doesn’t . There are different suggestions of where this painting is located.

3IE-1877-189        portrait de madame A.D. ; Appartient à M.A.D.

Moffett suggests (p206) CR163; portrait of Madame Alphonse Daudet; Berson, Dony (no.255) and Raeburn (p.197) confirm this.

3IE-1877-190        portrait de M. Sisley

Moffett suggests (p206+237) CR117; Berson, Dony (no.138) confirm this.

3IE-1877-191        portrait de mademoiselle S.

Moffett suggests CR229 now in the Pushkin; Berson (p101), Dony (no. 282) and Raeburn (p.197) confirm this.

3IE-1877-192        portrait de M.S.

Moffett suggests (p206) CR71; owned by Mr. and Mrs Charles Wohlstetter in New York. Berson (p101) confirms this. Now: a portrait of Eugène Spuller, the-athenaeum (iR2) dates it 1871, Dony (no. 201) ca.1875-76. Raeburn (p.197) mentions a portrait of député Spuller (now Norton Simon Foundation, Passadena)

3IE-1877-193        jeune fille

Moffett gives no suggestion, nor does Berson. Bernadille (1877/04/13) reviews ‘Jeune fille’ with yellow hair and crimson face as if under the reflection of a furnace (R90I,p129/130). Le Moniteur universel (1877/04/08) and La petite Presse (1877/04/09) reviews ‘Green hues can be found … in this one une Jeune fille (no 193)’ (R90I,p169+175). As uncertain options I render: 1875ca, The Sewer, 65×54, A2010/11/02 (iRx;iR11;R30,no195) and: 1876, CR172, Young Woman Braiding Her Hair (portrait Mlle Muller), 55×46, NGA Washington (Mx;R30,no222;R31,no42).

3IE-1877-194        femme assisse

Moffett gives no suggestion, nor does Berson (R90II,p82). Rivière (1877/04/06) reviews ‘Three studies: a woman in a corset … are charming and very Parisian.’ (R90I,p180). Leroy reviews (1877/04/11) ‘Ah! what magnificent green skin M. Renoir shows us in no. 194, a decolletee woman. So many studies have been done at the Morgue to achieve such a result!’ (R90I,p159)  I think this work fits these reviews: 1876ca, Mme Henriëtte Henriot in white, 66×50, NGA Washington (iRx;R30,no216).

3IE-1877-195        la Seine à Champrosay

Moffett suggests (p206 + 238) a work in musée d’Orsay; Dony (no.256) doesn’t confirm this; Berson (p101) and Raeburn (p.197) do.

3IE-1877-196        La place Saint-Georges

Moffett gives no suggestion; nor does Berson (R90II,p82). Rivière (1877/04/06) reviews ‘It is a morning effect, with a May sun, lighting up the flowering chestnut trees. You can breathe in the fresh scents of the large green trees bordering the gardens.’ (R90I,p180). I think this work fits this review best: 1875ca, Place de la Trinite, Paris, 50×61, private (iRx;R30,no196). Note: the Place de la Trinite, now Place d’Estienne d’Orves, before the church ‘de la Sainte Trinité’, is closeby the Rue Saint-George, where Renoir lived at no.35 (see map, iR9).

3IE-1877-197        Coucher de soleil

Moffett gives no suggestion, nor does Berson. Rivière (1877/04/06) reviews ‘Le soleil couchant à Montmartre, with its atmosphere of gold and diamonds, dazzles the eye. While the sun still lights up the valley, the foreground, hidden by a hedge, already enters the evening shadow. As it flees, the sun seems to double its light, the brick roofs burst, leaves sing on the restless branches, the white walls have metallic cracks, and the horizons get lost in dazzling dust. Here, the shadowy patches of hills whose peaks are lost in gold stand out faintly like dying dreams.’ (R90I,p180). This review resembles a work I found in Google images and Pinterest, but without further details: 18xx, view of Montmartre, xx, xx (iR10;iR64).

3IE-1877-198        Jardin
3IE-1877-199        Jardin

Moffett gives no suggestion, nor does Berson. Bernadille (1877/04/13) reviews ‘apocalyptic gardens in front of which the spectator, like the turkey in the fable, sees something but does not distinguish very well.’ (R90I,p130). Descubes (1877) reviews ‘Gardens coloured by a light similar to that goes through a pharmacist’s jar, still draw attention to the exhibition.’ (R90I,p144). Both reviews don’t give light on which of the several garden scenes Renoir painted in 12, Rue Cortot, Montmartre. Spiess suggests this work was exhibited: 1876, CR193, The Garden in the Rue Cortot at Montmartre, 151×97, Pittsburgh Carnegie (iRx;R16,p284;R30,no238;R31,no38). Braun / Dony (no.238) and Raeburn (no38) don’t confirm this suggestion. Braun / Dony suggest that the two figures are Monet and Sisley, Raeburn argues against it that Monet and Sisley were not in Paris at the time. I follow the suggestion of Spiess, also because it’s quite large. I render also two other uncertain suggestions for no.198. And for no.199 I render as uncertain suggestions: 1875, Woman with a Parasol in a Garden, 54×65, MNTB Madrid (iR2;Mx;R30,no199); Dony (no.199) doesn’t confirm my suggestion; and: 1873, Women in a garden, 55×66, A2007/11/07 (iR11;cpR30,no105).

3IE-1877-200        tête de jeune fille

Eng.: head of a young girl. Moffett gives no suggestion, nor does Berson. Descubes (1877) reviews it is ignited (R90I,p144). I render 4 very uncertain suggestions of heads / portraits of young women.

3IE-1877-201        bouquet de fleurs des champs

Moffett gives no suggestion, nor does Berson. Fillonneau (1877/04/20) reviews  ‘which is highlighted with a brushstroke worthy of a better school.’ (R90I,p145) Most of the flowers Renoir painted were more cultivated flowers. ‘Flowers in a vase’ (1866) seem to contain flowers from the field. I render two other more uncertain options: 1866, spring bouquet, 104×80, HAM Cambridge (R30,no12) + 1876ca, Bouquet in front of a Mirror, 93×72, private (iRx;R30,no267).

3IE-1877-202        deux têtes
3IE-1877-203        deux têtes

Eng.: two heads. Moffett gives no suggestion, nor does Berson (R90II,p83). Rivière (1877/04/06) reviews ‘Three studies: … and two small canvases, a woman’s head and a man’s head, are charming and very Parisian.’ (R90I,p180). Le Petite Republique française (1877/04/10) reviews ‘two frames each containing the head of a man and a woman taken from the heart of Parisian life.’ (R90I,p176). This review could mean that each frame contained a portrait of a man and a portrait of a women. If this is the case we can choose of several small canvasses with women heads and just a single head of a man. I render two compilations to give an impression.
Dony shows in his catalogue two works which could be the works Renoir exhibited in 1877: no. 241, ‘two heads or: young man and young woman’, painted in 1876, 45x31cm, now in the Orangerie; and: no.272, 1877ca, two young maiden heads, 47×54, Marlborough Fine Art London. This suggestion doesn’t render a man and a woman, still I think it is a relevant suggestion. I render those two.

3IE-1877-204        Les Dahlias

Moffett gives no suggestion, nor does Berson. Jacques (1877/04/12) reviews ‘with dazzling intensity’ (R90I,p157). Rivière (1877/04/06) reviews ‘the large panel with the magnificent red dalhias in a clutter of herbs and lianas.’ (R90I,p180). To compare I render 3 works with dahlias who all don’t fit this description of Riviére.

3IE-1877-205        portrait d’enfant

Moffett gives no suggestion, nor does Berson. Bertall (1877/04/09) indicated that it hung below ‘la balançoire’ (R90I,p132). Renoir painted several children. I will render 4 of them made in 1876 and 77.

 

 

The seventh ‘impressionist’ exposition 1882:

Overview:
  • catalogue numbers: 137-160
  • Moffett (p395) suggests that Renoir showed two works outside the catalogue (=hc = hors catalogue); Berson claims there were 4.
  • all numbers represent one work, so Renoir showed 25+4hc=29 works
    • Note: Paul de Charry (1882/03/14) writes about 24 works (R90I,p384)
    • 6 of them were portraits (note: this is much less than at the other expositions)
    • 5 works were still lives
    • 11x an indication of place
    • 0x an indication of time, season or weather
    • 0x a study
  • I will refer to the suggestions of Moffett (1986=R2,p395), Berson (1996=R90II,p210-3+229-233), Dony / Braun (1976=R30) and Raeburn (1985=R31). They all refer to the Catalogue Raisonné de l’oeuvre peint of Daulte (1971=R108).  I sometimes refer to the new catalogue raisonné des tableaux, pastels, dessins et aquarelles of Dauberville (2007-2014=R185). Whenever Berson omits a work, this means there are no contemporary reviews.
  • See link for the pictures.
THE CATALOGUE NUMBERS:

7IE-1882-137        Jeune fille au chat

Moffett suggests (p395) CR330 ; CAI ; 120x92cm ; Girl with a cat, 1880. Berson affirms (R90II,p229). Also exhibited at the Salon of 1880. Compare with no.148+160, which is the same model Angèle (R15,p208). Compare also no.141.

7IE-1882-138        les deux sœurs

Moffett suggests (p395) CR378 ; Chicago ; 1881, Two Sisters (also known as On the Terrace), 101×81, AI Chicago. Berson affirms (R90II,p229). The location was the restaurant Fournaise and the model was the actrice Darlaud (R30,no471).

7IE-1882-139        une loge à l’Opéra

Moffett suggests (p395) CR329 ; Clark Art Inst. ; 99,2×80,6cm ; at the concert, 1880. Berson affirms (R90II,p229).

7IE-1882-140        un déjeuner à Bougival

Moffett suggests (p395) CR379 ; Philips collection, Washington, 130×173, The luncheon of the boating party (le déjeuner des canotiers), 1880-81. Berson affirms (R90II,p229). Painted on the terrace of the restaurant Fournaise. More info see wikipedia.

7IE-1882-141        Rêverie

Moffett doesn’t give a suggestion. Berson suggests CR356, Jeune fille assise, 62×50, private (R90I,p210). Referring to a cartoon of Draner (1882/03/09), see R90I,p417. But as far as I can see, this work is not depicted by Draner. I will render the suggestion of Berson in black and white. It seems to be made at the same location as no.138. I question the suggestion of Berson, because the woman doesn’t have a dreamy look. Renoir painted many woman with a dreamy look, so it is hard to indicate this picture. Also because this work is not mentioned in the reviews (R90II,p417). I render two other (uncertain) suggestions: 1877, reflection; 1879, the dreamer, 51×62, St. Louis. The model of this last one looks like Angèle, see no 137. It was part of the Bérard collection.

7IE-1882-142        femme cueillant des fleurs

Moffett suggests (p395) CR74 ; Clark Art Inst., Williamstown ; woman gathering flowers, ca 1872. Berson affirms this suggestion (R90II,p230).

7IE-1882-143        champ de bananiers près d’Alger

Moffett suggests (p395) a work in musée d’Orsay; probably: 1881, Field of Banana Trees, Orsay. Berson affirms this suggestion and leaves out the probably (R90II,p230). Nor the musée d’Orsay, nor Joconde (iR23) affirm this suggestion.

7IE-1882-144        assiette de prunes

Moffett doesn’t give a suggestion. Berson suggests: 1882-84, Still life a plate of plums , 56×46, private (R90II,p210+230). Berson affirms this suggestion (R90II,p230).

7IE-1882-145        lilas

Lilas=Eng.: lilac; Nl.: sering. Moffett suggests (p395) CR224 with a perhaps in a private collection. Maybe now: 1875-80, bouquet of lilacs, 54×65, NSM Pasadena (iR22). Berson gives another suggestion: 1878ca, Bouquet of Flowers, 65×54, private NY (iRx;R90II,p230;R30,no326). She refers to the review of de Nivelle (1882), who only mentions the work. 

7IE-1882-146        Vue de Venise (grand canal)

Moffett suggests (p395) a painting now in the MFA Boston. Berson affirms this suggestion (R90II,p230).

7IE-1882-147        Vue de Venise

Moffett suggests (p395 + 415) a work now in the Kreeger collection in Washington, 45×60, view of Venice, 1881. He refers to the Nivelle review. He mentions another option, that is preferred by Berson (R90II,p211) following House (R31,p231), now in the Clark Art Inst., Williamstown. Jean de Nivelle (1882/03/04) reviews of an ‘orgy of colours’ and ‘the artist has given the impression of a storm in the Grand Canal’ (R90I,p406). The work from the Kreeger collection depicts a fog, not a storm. The Williamstown work depicts more this ‘orgy of colours’. Leroy (1882/03/17) reviews ‘Mr Renoir’s Views of Venice stopped me for a long time. One of them has intertwined reflections like a glazed tile roof. Transparency has nothing to do with it. The painter posed himself this problem: to make water… solid, on which gondolas with wheels could evolve, without, however, this shredded, zebraised, spotted surface being taken for any kind of ground; and he admirably overcame the difficulty. This is nothing like anything we have ever seen before. ‘(R90I,p402). This solidness is more to be seen in the Williamstown version. The review of Paul Leroi (1882) doesn’t help us much further: ‘this unbridled solemnity the most unheard of series of ferocious smears that a slandererer in Venice can imagine.’ (R90I,p401)   All the other reviews just mention the works together, sometimes referring to the work of Ziem, but not describing it (R90I). So I think the Williamstown option is better, but I will render them both.

7IE-1882-148        Jeune fille endormie

Moffett suggests (p395) CR328 ; private Paris or Switzerland; young girl sleeping, 1880. Berson affirms this suggestion (R90II,p231). Compare with no.137+160 which is the same model Angèle (R15,p208). Compare also no.141.

7IE-1882-149        la lecture

Moffett suggests (p395) CR333 ; Frankfurt, now: 1880-86ca, Young Girl Reading (Lesendes Mädchen), 57×48,  Städel Frankfurt. Berson affirms this suggestion (R90II,p231).

7IE-1882-150        Au bord de la Seine

Eng: At the banks of the Seine. Moffett doesn’t give a suggestion, Berson omits this work (R90II,p211). Compare no.152.

as uncertain options I give:
1878ca, Landscape by the Seine, the Argenteuil Bridge (The River), 47×51, private (see)
1880, The Banks of the Seine at Argenteuil, private (see)
1880ca, Landscape, Banks of the River, 35×25, private (see)
1879, The Seine at Bougival, 32×41, private, which I render

7IE-1882-151        Les Canotiers

Moffett suggests (p395) CR307 with a perhaps 1879, Oarsmen at Chatou, 81×100, NGA Washington. Berson affirms this suggestion (R90II,p231). This work is mentioned but not described by Silvestre (1882/03/11) (R90I,p413).

7IE-1882-152        Les bords de la Seine

Eng.: the banks of the Seine. Moffett doesn’t give a suggestion. Berson omits this work (R90II,p211). Compare no. 150.

as a very uncertain option I give: 1880ca, Landscape, Banks of the River, 35×25, private

7IE-1882-153        Femme assisse sur l’herbe

Moffett suggests (p395) CR355 with a perhaps, private Paris. Now: 1880, Madame Renoir with a dog, private. Berson affirms this suggestion (R90II,p231).

7IE-1882-154        La Seine à Chatou

Moffett suggests (p395) with a perhaps 1881, The Seine at Chatou, 73×92, MFA Boston, referring to House/Raeburn no.56 (sic) (=R31,no57), who makes his suggestion with a ‘?’. Berson affirms this suggestion, she does not refer to reviews (R90II,p231). As another suggestion I also render: 1874ca, La Seine à Chatou, 54×65, Dallas MA (iR6;iR22;R30,no118). A work in the former Durand-Ruel collection.

7IE-1882-155        Marronniers en fleurs

=Eng.: chestnut trees; Nl.:kastanje bomen. Moffett doesn’t give a suggestion. I give: 1881, Chestnut tree blooming , 71×89, private. Berson affirms this suggestion (R90II,p231).

7IE-1882-156        Géraniums

Moffett suggests (p395) with a perhaps ‘House, no. 59 (=R31,no59), per Isaacson’. Note: Raeburn / House add an ‘?’ to their suggestion. Now: 1881, Geraniums and Cats, 91×73, NY private. Berson affirms this suggestion (R90II,p232). The reviews of Flor (1882/03/03; R90I,p388), Hepp (1882/03/03;R90I,p394), Jean de Nivelle (1882/03/04;R90I,p406) and Robert (1882/03/05; R90I,p410) don’t give a discription. They don’t refer to a cat. I also render another option: 1880, Geraniums in a Copper Basin, 81×61, private.

7IE-1882-157        Jardin Desaix à Alger

Moffett doesn’t give a suggestion. Berson suggests: 1881, Algiers, the garden of Essai, 81×65, private (R90II,p211+232). She refers to the Draner cartoon (1882/03/09) (R90I,p417) and the reviews of Flor and De Nivelle. ‘Jardin Desaix’ should be ‘jardin d’Essai’, a garden with palm trees in Algiers.

7IE-1882-158        Pivoines

Eng.: Peonies; Nl.: pioenrozen. Moffett doesn’t give a suggestion. Berson suggests: 1880ca, Peonies, 55×65, CAI Williamstown (R90II,p211+232). The reviews of La Fare (1882/03/02;R90I,p400), Jean de Nivelle (1882/03/04;R90I,p406) and Robert (1882/03/05; R90I,p410) don’t give a discription. I also render as an suggestion: 1876-78, Peonies, xx, private (iRx;R30,no268).

7IE-1882-159        Les pêches

Moffett doesn’t give a suggestion. Berson suggests 1881, Still life with peaches, 53×65, Metropolitan (R90II,p232). The reviews of La Fare (1882/03/02;R90I,p400) and Sallanches (1882/03/03; R90I,p412) don’t give a discription. Jacques de Biez (1882/03/08) reviews ‘a certain peach composition, of which the execution of the velvety texture borders on optical illusion’ (R90I,p381).

7IE-1882-160        Femme à l’éventail

Moffett suggests (p395) CR332 ; Hermitage ; 65x50cm ; woman with a fan, 1880. Berson affirms this suggestion (R90II,p232). Compare with no. 137+148, which is the same model Angèle (R15,p206-209). Braun / Dony suggest: 1879-81ca, Girl with Fan (Jean Samary), 65×54, CAI Williamstown (iRx;R30,no456). Hustin (1882/03/03) reviews ‘You will notice the expression in the Femme a l’eventail, despite her burnt red eyes and her hair of which only a recent colouring would explain the purplish tonality. ‘ (R90I,p394) Meurville (1882/03/21) reviews ‘You see this pretty person sitting in an armchair and holding in her hand one of those tricolour fans that Japan sends us for the sum of two or three pennies. The most remarkable aspect of this person is her eyes. Two very alert black eyes, too alert even, but at last eyes of a siren that invincibly attract you; The nose is straight and fine, the mouth is graceful and carmine, then you can see a white patch, probably representing teeth, and finally something tricolour that flickers on something that looks like a hand.’ (R90I,p402) Both reviews plead for CR332.

7IE-1882-161        Près de Bougival

Moffett doesn’t give a suggestion, nor does Berson (R90II,p212). De Nivelle writes about ‘prés de Bougival’, which means meadows instead of ‘près’ which means near. And he invites the reader to ‘recognize yourself in it, if you can’. The meaning of it is not clear to me.

as a very uncertain suggestion I give: 1875-95, The Banks of the Seine, Bougival, 41×55, private

7IE-1882-161+hc1            Jongleuses au Cirque Fernando

Moffett suggests (p395) CR297 ; AI Chicago ; 132×100, Jugglers at the Cirque Fernando, 1879. The picture depicts Francisca & Angelina Wartenberg. Berson renders it as hc40 (R90II,p212).

7IE-1882-161+hc2            Jeune fille Pêcheuse de Crevettes

Crevettes= Eng.: shrimps; Nl.: garnalen. Moffett suggests (p395) CR281 with a perhaps ; private Geneva ; or: CR282 ; private NY. Berson renders CR281 as HC41 (R90II,p232), now: 1879, The Little Fishergirl (Marthe Bérard), 61×46, private (iRx;R30,no347) This work maybe also was exhibited at the Salon of 1880. Berson also mentions CR282 (R90II,p212). Berson refers to the review of Paul de Charry (1882/03/14) who only mentions the work (R90I,p384).

7IE-1882-161+hc3 Un verger Normand

Berson also mentions another work exhibited outside the catalogue (giving it no.HC42), referring to the review of Flor, who just mentions the work, but doesn’t describe it. Berson doesn’t identify the work. (R90II,p212).

7IE-1882-161+hc4 Tête de petite garçon

Berson also mentions another work exhibited outside the catalogue (giving it no.HC43), referring to the review of de Charry (1882/03/14), who writes ‘a delightful little boy’s head’ (R90I,p384) . Berson doesn’t identify the work. (R90II,p212).

 

 

Renoir at the Salon:

My main sources are the Salon database of Musée d’Orsay see, Raeburn (R31,p294-315) and Braun (R30,p9-14 and his catalogue numbers). For the other general references (=R) see and for references to internet sites (=iR) see . Note: an artist mostly submitted two works at the Salon. So every time only one work was accepted or rejected you can ask if Renoir only did admit one work or that an unknown work was rejected. See link for the pictures.

S1863-rejected:

First admission to the Salon ”Une Nymphe avec un faune’ (according to Arsène Alexandre) was rejected and later destroyed by Renoir (R31,p295). To compare I render a work of Cabanel.

S1864-1618 La Esmeralda: (R31,p295; iR1)

Debut at the Salon with ‘Esmeralda dancing with her goat’ ; Renoir later destroys the painting, because Diaz rejected the use of bitumen-black (R32,p12;R30,p4+9;R31,p295). Esmeralda is a character in the Victor Hugo (1802-85) novel the hunchback of Notre-Dame (1831). There also is a ballet made after it. (iR3) I render an unknown painting depicting Esmeralda.

S1865-1802 portrait de M. W. S…: (R31,p295; iR1)

Raeburn and Braun suggest ‘portrait of William Sisley’ (R31, no.2; R30, no.6). Note the many blacks and browns. The painting wasn’t noticed by a single critic (Raeburn, no.2)

S1865-1803 Soirée d’été: (R31,p295; iR1)

Eng.: summer evening. The work of Renoir stayed unnoticed and later got lost. (R31,p179) In 2016 someone claimed he found it (iR10), but the style doesn’t seem that of Renoir (HW); still I will render it. To compare I also render a work of Rousseau.

S1866-R, landscape with two figures:

‘Landscape with two figures’ was rejected in spite of pleas of Corot and Daubigny who were members of the jury (R31,p295 + R30)

S1866-A, a quick sketch:

A quick sketch was accepted, but Renoir withdraw it (R31,p295). I render one of the many sketches Renoir made of Lise Trehot.

S1867-rejected:

‘Diana the huntress’ was rejected (R31,p296 + R30, no.20). The way Renoir rendered his model (Lise Tréhot), didn’t comply with the Neo-Classicist standards of beauty.

S1868-2113: ‘Lise’ (R31,p296; iR1)

Raeburn and Braun both suggest ‘Portrait of Lise with umbrella’. Note: the effect of sun and shade (blue-ish). Info: it hung quite high, still there are several reviews. Astruc and others gave a positive judgement (R31,p181 + R30, no.22); it was painted outdoors in Chailly-en-Bière (Fontainebleau) in the summer of 1867; in 1873 bought by Duret (R30,no22+p5+10).

S1869-2021: ‘En été; étude’ (R31,p296; iR1)

Raeburn notes it on p.296 wrongly as no. 2201 and correctly on p.188. Raeburn and Braun both suggest ‘the gypsy girl’. The model, Lise Tréhot was painted quite smoothly in the studio. The background is very freely painted, maybe that’s why Renoir called it a study. Duret bought it in 1873 for 400fr from Durand-Ruel (R31, no.8; R30, no.31).

S1870-2405: ‘baigneuse’ (R31,p296; iR1)

Raeburn and Braun both suggest ‘bather with dwarfgriffon’ (=sort of little dog); Lisa Tréhot was the model. It got attention from the art-critics. Combines a classical theme with realist details. (R31, no. 15; R30, no.50). Note: the strange horizontal (male/female?) figure on the right.

S1870-2406: ‘Femme d’Alger’ ((R31,p296; iR1)

Raeburn and Braun both suggest ‘the Algerian woman’ (or: Odalisque); Lise Tréhot was model; the painting was inspired by Delacroix (R31,p194;R30,no.52)

S1872-rejected: ‘Parisiennes habillées en Algériennes’ (R31,p297)

‘Parisiennes in Algerian clothes’ was rejected; it was inspired by Delacroix; Lise Tréhot was a model (one of the last times)  (R31, no.20; R30, no.73).

SdR1873-90: ”Allée cavalière au Bois de Boulogne’ (R31,p297; iR1)

Rejected for the Salon and exhibited at the Salon des Refusés. Raeburn and Braun both suggest ‘Riding in the Bois du Boulogne’, showing madame Darras and Joseph le Coeur. Criticized for the drawing of the horses (not very true) and the blues in the horses skin. (R31,p196; R30, no.104). Rouart later on bought this picture (R45).

SdR1873-91  ‘portrait’ (R31,p297; iR1)

Rejected for the Salon and exhibited at the Salon des Refusés. Raeburn and Braun don’t give a suggestion for this work. My uncertain suggestion is ‘Madame Darras as an horsewoman’; it is the same model as no. 90 (R31; R30 no.103);

S1875-rejected:

Raeburn writes a painting was rejected according to Duret and Maître, but doesn’t give any further information (R31,p298). Clayson affirms this (R2,p158).

S1877-accepted    spring

Braun (R30,no.271) suggests there was a picture exhibited called ‘spring’ exhibited at the Salon of 1877: Spring 1877ca, paysage de printemps, 38×53, MBA Algiers. The Musée d’Orsay database (iR1) doesn’t confirm this, nor does Raeburn (R31). This work was neither in the catalogue of the 3th ‘impressionist’ exposition; Moffett doesn’t confirm there was a painting exhibited outside the catalogue (=hc = hors catalogue) of 1877.

S1878-1883: ‘le café’ (R31,p299; iR1)

Braun identifies it as ‘the cup of chocolate or: woman drinking coffee’; Raeburn mentions it as CR272; the model was Margot (R31; R30, no.315).

S1879-2527: ‘portrait de Mme. G. C… et de ses enfants’ (R31,p299; iR1)

Raeburn and Braun both suggest ‘Madame Charpentier and her children’ now at the Metropolitan. It was hung on a prominent place and received a positive judgement. The children were her daughter Georgette, sitting on the dog (born 1872) and her son (!) Paul (born 1875) (R31,no44;R30,no321). Braun / Dony states that it is Georgette who is sitting on the dog, but I think it is the younger of the two children, so Paul, who looks by the way like a girl, a fashion that was more common in those days. Note: the poses are quite informal; the black of the dress and dog is painted with dark reds and purples.

S1879-2528 ‘Portrait of Mlle Jeanne Samary’ (R31,p299; iR1)

Raeburn and Braun both suggest ‘portrait of Jeanne Samary’. The painting was hung somewhere high on a wall (R4; R5, no. 320)

S1879-4476 Portrait de Paul C… (pastel) (R31,p299; iR1)

Raeburn and Braun don’t give a suggestion. My suggestion I found at art-Renoir (iR52): a portrait of Paul Charpentier; art-Renoir dates it at 1887, but the resemblance with the Paul, born in 1875, sitting on the divan in the painting ‘Madame Charpentier and her children’ (S1879-2527) is very big; so I think this pastel should be dated 1878; this makes it an almost certain suggestion for this work exhibited at the Salon of 1879; as in the mentioned picture Paul does (to our contemporary standards) look more like a girl

S1879-4477: Portrait de Théophile B… (pastel) (R31,p299; iR1)

Raeburn and Braun don’t give a suggestion. As an uncertain option I give the pastel ‘portret of a young boy’

S1880-3195: ‘Pêcheuses de moules à Berneval’ (iR1)

Raeburn and Braun suggest ‘Mussel fishers at Berneval’ (R31, p254; R30, no.363). Raeburn writes that the hanging of all Renoir’s works at the 1880 Salon was quite poor (R31,p300)

S1880-3196:  ‘Jeune fille endormie’ (iR1; R31,p300)

Raeburn and Braun both suggest ‘sleeping girl or: girl with a cat’ (R31, no.50; R30, no. 408). Raeburn describes it as a ‘strongly naturalist painting’ and mentions that it was badly hung (R31, no.50)

S1880-5703: ‘portrait de Lucien Daudet’ (pastel) (R31,p300; iR1)

Raeburn and Braun don’t give a suggestion. My uncertain suggestion is a portrait of Lucien Daudet made by Renoir in 1875. art-Renoir (iR52) confirms this suggestion, see ;

S1880-5704: ‘Portrait de Mlle M.B. (pastel) (R31,p300; iR1)

Raeburn and Braun don’t give a suggestion. To compare I give ‘the little fisher-girl’ for which Marthe Bérard was model; but this work is an oil painting (see R30, no.347), a work maybe also exhibited outside the catalogue in 1882 (7IE-1882-161+hc2).

S1881-1986 ‘portrait de Mlle xxx (R31,p300; iR1)
S1881-1987:  ‘portrait de Mlle xxx’ (R31,p300; iR1)

Raeburn doesn’t give a suggestion; Dony doesn’t mention the hanging at all. As Renoir made many portraits of girls or unmarried woman it’s very hard to know what he exhibited. I give two very uncertain suggestions ‘portrait of mademoiselle Irene Cahen D’Anvers’ (see R30, no. 428) and ‘portrait of mademoiselle Hélène Grimprel with a red ribbon’ (see R30, no.426).

S1882-2268 ‘Portrait de Mlle Y.G.’ (iR1)

Raeburn suggests portrait of Yvonne Grimprel (R31,p301). Dony doesn’t confirm this and doesn’t give another suggestion (R30, no. 425)

S1883-2031 ‘portrait de Mme. C.’ (iR1; R31,p301)

Raeburn and Braun suggest Portrait of Mme Clapisson (R31, no.70; R30, no.559)

S1890-2024 ‘Portraits de Mlles M…’ (iR1)

Raeburn suggests the daughters of Catulle mendès at the piano; CR545 (R31,p304). Braun doesn’t give a suggestion