Impressionism, a historical reconstruction:

Alfred Sisley

(1839-1899)

Account

of his exhibited works

 

Introduction:
On this page you will find an extended account of which paintings Alfred Sisley has exhibited at the ‘impressionist’ expositions (=IE) in 1874,  1876, 1877 and 1882. You will also find a less extended account of the works he submitted to the Salon (=S) and to the Salon de la Société National des Beaux-Arts (=SNBA), the solo expo in 1883 at Durand-Ruel,  regional exhibitions, the Expositions Universelles, at Les XX and La Libre Esthetique in Brussels and at other exhibitions (in a chronological order; also posthumous).
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) and Berson (1996=R90). They mostly follow the Catalogue Raisonné (=CR) of Daulte (1959=R129). I also use the Catalogue Critique des Peintures et des Pastels (=CCPP) of Brame & Lorenceau (2021=R396) Information about the works Sisley exhibited at the Salon, I found in the Salon database of musée d’Orsay (see =iR1). Additionally I used the books of Blondel (2016, aR1=R38), Gale (1992=R53) and Mary Anne Stevens (1992=R166) about Sisley.
When I have no suggestions of a reliabel source I make connections between the french titles in the catalogues, the contemporary titles of the paintings and information on the provenance. These suggestions of mine are very uncertain or just a suggestion to compare. But still, I hope these suggestions give an impression of what Sisley could have exhibited at these expositions.
For the pictures I made use of the-athenaeum.org (=iR2). Additional pictures I took from WikiMedia (=iR6); wikiart.org (iR7); the webgallery of impressionism.co.uk (=iR22); Christies (iR15); Sothebys (iR14); musea (=M). For zoom options you can look at the Google-Art-Project (=iR8). For other references to internet pages (=iR) see. For general references (=R) see. For additional references (=aR) see at the bottom of the main page about Sisley.
See also the overview of his exhibitions and overview of the titles at Durand-Ruel expos.

 

The first ‘impressionist’ exposition 1874:

General overview:

• catalogue numbers 161-165+hc
• so in total Sisley exhibited 5+1=6 works ;
  • 5x an indication of place
  • 2x an indication of time, season or weather
  • 0x a study
  • 2x a loan, both of Durand-Ruel (no.161 + 162)
• In my choices I’m inspired by Daulte (1959=CR=R129), Dayez (1974=R87,p254), Moffett (1984=R2,p123), Berson (1996=R90II,p13+28/9), Brame/Lorenceau (=CCPP=2021=R396) and Patry/Robbins (=2024=R410,p272)
• See link to his exhibited pictures.

reviews:
Burty (1874/04/25) in La Republique française reviewed  more in general ‘M. Monet, M. Pissarro, M. Sisley, M. Latouche are pursuing their own personal goals, but with a common doctrine, rendering the general appearance of a landscape as purely as possible. Sometimes the illusion is astonishing. … But often the sacrifices are too visible. The public, for example, will not easily understand, that, while looking at a group of poplars on the banks of a river, the branches no longer stop your gaze. M. Corot has well put in the way;’ (R90I,p37/8)
1874/05/30 Burty reviewed in the Academy ‘M. Monet, M. Pissarro, and M. Sisley are the great go-aheads of the group. Nothing … would offend them more than to compare them, even favourably, with Thédore Rousseau of Corot. … in M. Sisley and M. Pissarro, when they surpresss … what the human race is accustomed to see … far more radical than … the pre-Raphaelite movement in England, there remains, when the work is succesful, a singular illusion of light and freshness.’ (R90I,p10)
Emile Cardon (1874/04/29) reviewed more in general ‘So, rests us Mrs. Degas, Cézanne, Monnet (sic), Sisley, Pissaro (sic), Mlle Berthe Morisot, etc., etc., the disciples of M. Manet, the pioneers of the painting of the future, the the most convinced and authorized representatives of the School of the impression.’ (R90I,p13)
As E.C. in Revue de France (vol.10, April 1874) he mentioned la Seine à Port-Marly as one of the few works worthy to look at. (R90I,p11)
Etienne Carjat (1874/04/27) reviewed  more in general ‘Mrs Monet, Pissarro, Cézanne, Sisley and Guillaumin forme a group apart in this exposition, of which they have been the principal initiators. What they seem to be looking for above all else, is the impression, a word that is invented purposely for the sake of their cause.’ Next he criticises this ‘impression’. Ending with ‘At first we have applauded the beginnings of this young club. Of Monet, Pissarro of Cézanne. We have defened them against the studios of Cabanel, Picot and others. … Hélas, we have mistaken. … With some energie, perseverance, the will to learn all that they lack, they will soon concor their place at the first rangs. … They don’t stop to follow the false road.’ (R90I,p14/5)
Castagnary (1874/04/29) in general reviewed ‘But it is not about these well-known names, nor about their accepted works, that the question is raised about the school of which I spoke of at the beginning. To find out more about these new arrivals, about what they want, about what they dream of, about what they realise; to determine the difference between their way of interpretation and the previous way of interpretation, we need to place ourselves before the works of Mrs. Pissarro, Monet, Sisley, Renoir, Degas, Guillaumin, and also before those of Mlle Berthe Morisot. This is the headquarters of the new school, – whether there is a school, we will shortly see.’ And more specific on Sisley ‘M. Sisley has distinction, and he carries it untill grace in a a truly poetic landscape, entitled Route de Saint-Germain’ (R87,p265;R90I,p16)
Ernest Chesnau (1874/05/07) reviewed more in general in Paris-Journal and Le Soir: ‘The school of plein air is presented at the Boulevard des Capucines by Mrs. Monet, Pissarro, Sisley, de Gas (sic), Rouart, Renoir and Mlle Morisot.’ More specific on Sisley he reviewed ‘Not everything is equally good in the sendings of M. Sisley; but there is in one, la Seine à Port-Marly, which is the absolute realisation of the ambitions of the school. I don’t know a painting nor from the past nor in the present that renders in a manner so complete, so perfect the physical sensation of the atmosphere of the ‘plein-air’. (R87,p270;R90I,p18+19)
Two days later Ernest Chesnau (1874/05/09) in Paris-Journal and Le Soir he distinguishes a movement of colour by Henri Regnault, Humbert, Henri Lévy, Thirion and a movement of light by Manet, Monet, Renoir, Pissarro (of which I have forgotten yesterday to mention no.140, a landscape full of air and light) and by Sisley that it is more systematically asserted’. (R90I,p20)
F. de Gantès (1874/04/23) reviewed ‘M. Sisley has enough mediocre paintings for it to be taken into account for the charming study au bord de l’eau, that he was able to steal from nature. Tall autumn trees are reflected in the calm water, blending gently into the sky, which a cold sun dimly yellows. Some red notes in the distance indicate tiled roofs, lost in the countryside, and animate the fleeing horizon. ‘ (R90I,p23)
Ernest d’Hervilly (1874/04/17) summed up some ‘really remarquable’ works including ‘Sisley, whose landscapes are exquisite’. (R90I,p24)
E. Lepelletier (1874/04/19) summed up the principle works including ‘l’Ile de la Loge of M. Sisley’ (R90I,p24)
Louis Leroy (1874/04/25) rendered this dialogue on Un verger ‘I recommend the little tree on the right; it is cheerful’. And later ‘Sisley himself appeared to him affected and precious.’ (R90I,p25+26)
Léon de Lora (1874/04/18) in his review in Le Gaulois summed up as one of the remarquable landscapes L’Île de la loge. (R90I,p27)
De Montifaud (1874/05/01) reviewed ‘M. Sisley is of those who are in progress; maybe he sees nature under a bowl full of hail / through a haze.’ (R2,p142;R90I,p30)
Giuseppe de Nittis in his review dated 1874/06/10 and published 1874/07/01 in Il Giornale artistico reviewed ‘Without counting Pisaro (sic), Monet and Scsley (sic), who are landscapists with beautiful qualities and of great interest. These are attacked, and rightly so, for resembling each other a little too much because they are all descended from Manet and sometimes come to be shapeless.’ (R90I,p31)
Le Phare de la Loire (1874/04/18) reviewed ‘From the school of M. Manet, these two artists (Renoir & Monet), gifted with a true painter’s temperament, tackle the most realistic subjects and treat them with extreme skill, but they are too content with a little too much. The master of this genre of painting is M. Lisley (sic).’ (iR437)
Jean Prouvaire in his review in Le Rappel (1874/04/20) rendered chapters on 8 partakers including Sisley: ‘We confess that in general we only moderately admire Sisley’s  paintings. Finishing is difficult. Many people make sketches with finesse, but one must blame those among them who limit themselves to beginnings. But this time Sisley exhibits a charming work along with other mediocre canvases. We do not know the title, as the booklet (=catalogue) has not yet been published. On the bank of water vaguely tinted by the reflection from a pale sky, some yellow and red autumn trees lean, sad yet golden. And on the opposite bank, in a sort of half-circle, small houses, some with red roofs, stretch toward a distant, deeper blue.’ (R90I,p35;R2,p142)
Armand Silvestre (1874/04/22) reviewed in general ‘Ahead of them are three artists of which I have spoken of serveral times (Monet, Sisley, Pissarro). Mr Monet is the most skilful and daring, Mr Sisley, the most harmonious and the most timid, M. Pissaro (sic) who is basically the inventor of this painting (style), the most real and the most naive. … What is certain is just the way these three landscapers see things, is nothing like that of any of the previous masters. … If one searches a definition, one finds that it foremost decorative. It is the effect of an impression they pursue only, leaving the search for expression to the passionates of the line. … Now, by what ways is this impression being sought! That is the true merit of these artists and in what way they will have been of infinite use to contemporary art. … It’s actually the range / the colour spectrum they’ve reconstructed from the paintings of the great artists of this century. … And don’t believe that this makes the palette a banal percussion intrument as one might initially think. … You need special eyes in order to be sensitive to the subtlety of their tonal relations, which constitutes their honor and merit. What will increase their influence is that their paintings are painted in a singularly cheerful tone. A blond light floods them and everything is cheerful, clear and festive, golden evenings or apple blossom. Their canvases … open … the windows on a joyfull countryside, on the river filled with boats, on a sky streaked with light vapours, on a life outside that’s full and charming. (…) In that respect, I find their assignment quite clumsy.’ And more specific on Sisley ‘The two paintings where daring seems to me to be best rewarded by success are le Verger and the view on Port-Marly of M. Sisley. In the last one, the most unexpected harmonies are obtained by intense blues and yellows to the point of violence. It is in these experiments on the extension and flexibility of the pictorial range that the true merit of these attempts and their overall scope must be sought.’ (R90I,p39/40;R410,p272)
Emile Zola in Le Sémaphore de Marseille (1874/04/18) summed him up as one of the landscapists (R90I,p38).
See the seperate pages on the reviews and on the art-critics.

short overview given suggestions + reviews:

• no. 161 loan Durand-Ruel; Only remarks.
  =CR43/CCPP44 (R2;R87;R90;R396;R410);
• no.162 loan Durand-Ruel; Only remarks.
  =CR21/CCPP50 (R2;R87;R90;R396;R410);
• no.163 sold by the Société for 1000fr (R411)
  Short description =no.163 or no.165 (R90I,p40)
  =CR67/CCPP66 (R2;R90;R129;R396;R410,no133) -/-R53; Only remarks
  =CR176/CCPP187 (R87) -/- (R129;R396;iR74) =SDbl 1875
  HW =!? CR72/CCPP101
  HW: =?? CR76/CCPP70
• no.164 Short description (R90I,p25);
  =CR82/CCPP105 (R87;R2;R90;R396);
  =? CR62/CCPP88 (HW;R410)
• no.165
  Short description =no.163 or no.165 (R90I,p40)
  =? CR45/CCPP60 (HW;R410)
• no.165+hc1; described
  =CR94/CCPP78 (R2;R90;R396) -/- (R17);
• See link for the pictures.

The catalogue numbers:

1IE-1874-161, Route de Saint-Germain; appartient à  M. Durand-Ruel.
Eng. = the road to Saint-Germain, loan of Durand-Ruel. Saint-Germain lies about 2km north of Marly-le-Roy, see.
Castagnare (1874/04/29) calls this work ‘a truly poetic landscape’ (R87,p265;R90I,p16).
Adhémar, Moffett (perhaps), Berson, Brame/Lorenceau and Patry/Robbins suggest CR43/CCPP44, 1872, The Route from Saint-Germain to Marly, 46×61, MAM San Antonio (iR2;iR59).
Maybe Sisley showed the same picture in 1876 (no. 243), but this is not confirmed by Brame/Lorenceau. Also exhibited by Georges Petit =GP1899-61 (R396,CCPP44).
Note: the CCPP renders as first buyer Charles Guasco, who sold the work again 1900/06/11; so not Durand-Ruel.
CR55/CCPP59 in this sense is a better option, cause it was bought by Durand-Ruel 1873/02/27: 1972, CR55/CCPP59, Effet de neige à Bougival, route de Saint-Germain, 46×61, private (R396,CCPP59;R129,CR55). It was also exhibited in London =London-GG-1905-289 (R396,CCPP59). Note: what speaks against it, is that in the 1874 catalogue there is no reference to a snow effect.

1IE-1874-162, Île de la Loge; appartient à  M. Durand-Ruel
Île de la Loge is an Island in the Seine along the communities of Le-Port-Marly, Louveciennes and Bougival, see.
De Lora (1874/04/18) calls it one of the most excellent works (R87,p257). Berson also refers to the review of Lepelletier (R90II,p13).
Adhémar, Moffett, Berson, Brame/Lorenceau and Patry/Robbins suggest: 1872, CR21/CCPP50, Ferry to the Ile-de-la-Loge, Flood, 46×61, NCG Copenhagen (iR2;iR59).
Stevens describes that Sisley overturned in this work the traditional conventions of a composed and carefully constructed landscape he often used. But just a little later she writes ’the composition … has been carefully arranged’. (R166,p114).
This work was bought by Durand-Ruel 1873/01/21, who also exhibited in London in 1883 (no.45) as one of 8 works by Sisley (R166,p114;R410,p227;R396,CCPP50). In 1899 it was shown at Georges Petit =GP1899-68 (R396,CCPP50).

1IE-1874-163, La Seine à Port Marly
Sisley asked 1000fr for this painting and the first edition of the 1874 catalogue indicates in writting that it was sold by the Société (R87,p224;R411). The accounts of the bookkeeping (around 1874/05/27) indicate that Sisley was still due to pay 100fr commission (R415,p367). So, we have to look for a work sold in 1874 for 1000fr.
Silvestre (1874/04/22) reviewed: ‘In the last one (=la vue de Port-Marly), the most unexpected harmonies are obtained by intense blues and yellows to the point of violence. It is in these experiments on the extension and flexibility of the pictorial range that the true merit of these attempts and their overall scope must be sought.’ (R90I,p40;R410,p272) This description applies according to Patry/Robbins (R410,p272) and Berson (added with an ?; R90II,p13) to no.163, but I think it could also apply to no.165. Chesnau (1874/05/07) commented that this picture is the ‘absolute realisation of the ambitions of the school’. Further more he wrote: ‘I don’t know a painting nor from the past nor in the present that renders in a manner so complete, so perfect the physical sensation of the atmosphere of the ‘plein-air’ (R87,p270;R90I,p19). But none of the (other) art-critics describe the painting.
Daulte, Moffett (with an ?), Berson, Brame/Lorenceau and Patry/Robbins all suggest: 1873, CR67/CCPP66, SDbl, La Machine de Marly (Bougival), 45×65, NCG Copenhagen  (R2,p123+109;R90II,p13+29;R410,p272+172). Bute note: The title in the catalogue doesn’t refer to the Machine de Marly, what is to be expected like in 3IE-1877-219. The emphasize is on the Seine. Gale (R53,p66) doesn’t confirm this choice, nor does Adhémar (R87,p254). Stevens explains that the choice for CR67 was already given by Daulte, but Stevens writes ’there can be no absolute certainty of identification’, also because this work was not a loan (R166,p122). In the CCPP the provenance starts with Bernheim-Jeune, but doesn’t indicate when it was bought (see also iR165).
Dayez / Adhémar suggest a later work: 1875, CR176/CCPP187, La Seine à Port-Marly, tas de sable , 55×74, AI Chicago (see info), but this is not confirmed by the Art Institute of Chicago (iR74). Daulte and Brame/Lorenceau both date this work 1875, so I will not suggest this work as an alternative.
Sisley made just a few paintings baring the title ’the Seine at Port-Marly’, namely:
1873, CR72/101, The Seine at Port-Marly, 50×65, private (iR10;iR94;R116II,p189;R166,p48), a work bought by Durand-Ruel in 1874 (R166,p48;R129;R396); it was also exhibited in London =London-GG-1905-293 (R396,CCPP101).
and: 1873, CR71/102, La Seine à Port-Marly, 46×61, private (R129); at an unknown date bought by Charles Deudon.
and: 1873, CR74/103, the Seine at Port-Marly, private (R129); bought by Durand-Ruel in 1880.
I think CR72/CCPP101 is the best option for 1IE-1874-163.
Sisley made several paintings of the Seine near Bougival, close to Port-Marly. Some were already sold before 1874: CR39/CCPP48, 89/72, 216/45, Of other works it is unclear, when they were sold or this was later: CR46/CCPP49, 70/67, 73/71, 78/73, 86/69, 87/77, 88/76, 89/72, 90/68, 93/74, 110/145, 111/116, 136/135.
Just one work was sold in 1874 (to Durand-Ruel): CR76/CCPP70. I will render as a very uncertain option. This work was also exhibited by Durand-Ruel =DR-1899-123.
When looking at the catalogue title, I think the works bought by Durand-Ruel in 1874 (firstly CR72/CCPP101 and secondly CR76/CCPP70 are better alternatives for the suggested CR67.

1IE-1874-164, Verger
Eng. = Orchard.
Emile Cardon (1874/04/29) recommends this work (R90I,p13). Leroy (1874/04/25) wrote: ‘I recommend you the small tree on the right; he’s gay’ (R87,p260;R90I,p25).
Dayez, Moffett, Berson, Brame/Lorenceau suggest CR82/CCPP105, 1873, Le Verger (the orchard), 50×73, and part of the Durand-Ruel collection in 1874 (R87,p254). I could only find a black and white picture (R87;R90;R396). This work was also exhibited by Durand-Ruel =DR1902-30 (R396,CCPP105).
Sisley painted many orchards (CR61-65+82). CR62=CCPP88 renders this ‘small tree’ most clearly, so I render as (better) alternative:
1873, SDbr, CR62=CCPP88, Apple trees in bloom, Spring morning (Pommiers en fleurs, Louveciennes), 50×73, A2013/05/08 (iR2;iR11;R2,p123;R90I,p25;R410,p176+272;R129,CR62;R396,CCPP88). Patry/Robbins affirms this suggestion (R410,p272+176). This work was also exhibited by Durand-Ruel =DR1899-128 and in London =London-GG-1905-290 (R396,CCPP88).

1IE-1874-165, Port-Marly, soirée d’hiver
Eng.= Winter evening
Silvestre (1874/04/22) reviewed: ‘In the last one (=la vue de Port-Marly), the most unexpected harmonies are obtained by intense blues and yellows to the point of violence. It is in these experiments on the extension and flexibility of the pictorial range that the true merit of these attempts and their overall scope must be sought.’ (R90I,p40;R410,p272) This description applies according to Patry/Robbins (R410,p272) and Berson (added with an ?; R90II,p13) to no.163, but I think it could also apply to no.165.
Adhémar, Moffett, nor Berson render a suggestion.
I could only find 2 scenes of the Seine in winter made by Sisley before or in 1874:
1872, SDbr, CR45=CCPP60, The Seine at Bougival in Winter (Gelée blanche, Port-Marly), 47×66, PBA Lille (iR10;iR6;iR2;iR10;iR94;R2,p123;R129,CR45;R396,CCPP60;R410,p272+p176;M17). This suggestion is affirmed by Patry/Robbins (R410,p272+p176).
The second depicts a morning scene instead of an evening scene, so I just mention it to compare: 1874, CR110/CCPP145, the Seine near Bougival, winter morning, 53×27, A2013/02/05 (iR10;iR6;iR11;R116II,p124; note: in the distance the Machine de Marly is visible). Bougival lies about 2km south-east of Port-Marly, see.

1IE-1874-165+hc, L’automne, bords de la Seine près Bougival
Prouvaire (1874/04/20) described the work: ‘On the bank of water vaguely tinted by the reflection from a pale sky, some yellow and red autumn trees lean, sad yet golden. And on the opposite bank, in a sort of half-circle, small houses, some with red roofs, stretch toward a distant, deeper blue.’ (R2,p142;R87,p259;R90I,p35) De Gantès (1874/04/23) described: ‘Tall autumn trees are reflected in the calm water, blending gently into the sky, which a cold sun dimly yellows. Some red notes in the distance indicate tiled roofs, lost in the countryside, and animate the fleeing horizon. ‘ (R90I,p23).
These descriptions make clear that Sisley also showed a work outside the catalogue. Moffett (R2,p123+142), Berson, Brame/Lorenceau suggest: 1873, CR94/78, Autumn – Banks of the Seine near Bougival, 46×61, MBA Montreal (iR2;iR11;R17,p173).
Adhémar and Patry/Robbins don’t render a work outside the catalogue. Richard Brettell doesn’t confirm this suggestion (R17,p173).

 

The second ‘impressionist’ exposition 1876:

Overview:

• catalogue numbers: 237-244: 8
• Sisley probably exhibited 2 works outside the catalogue (=hc): 8+2hc=10
• note: Sisley is wrongly noted as Sysley
• it’s indicated that he lived in Marly-le-Roy; about 10km west of Paris (Google-maps)
• so he exhibited 8+2hc=10 works
  • 9x an indication of place
  • 3x an indication of time, season or weather
  • 0x a study
  • all 8 works in the catalogue were loans and owned by art-dealers (R266,p37)
    • 4 of Martin
    • 2 of Durand Ruel (or is Durand someone else?)
    • 1 of Legrand
    • 1 of Mme Latouche

• In my choices I’m inspired by Moffett (R2,p165) and Berson (R90II,p45/6+64/5).
• See link for the pictures.

General reviews:
E.F. (1876/04/21) reviews in ‘Moniteur des arts’: ‘Less unbalanced (than Monet) is Mr. Sisley, who cannot be denied of excellent qualities.’ (R90I,p83). G. d’Olby (1876/04/10) reviews: ‘Mr. Sysley (sic) whose paintings, at the previous exhibition of the Boulevard des Italiens, had made a scandal by their strangeness, seems to want to humanize himself and to see nature with an eye of a less debatable sincerity ‘ (R90I,p100; Note: it is unclear to which previous exhibition he refers.) Emile Zola (1876/04/29) reviews: ‘Mr. Sisley is a very talented landscapist, who has more balanced means  than Mr. Pissarro.’ (R2,p186;R90I,p109) Silvestre (1876/04/02) reviews: ‘Mr. Sisley is more varied and complete.’ (than Pissarro; R90I,p109).

The catalogue numbers:

2IE-1876-237, Effet de neige; Appartient à M. Martin
Eng. (=effect of snow). M. Martin probably is the art-dealer Pierre-Firmin (Père) Martin. The CCPP identifies only CCPP199 as once owned by Martin; this painting is suggested for no.240. The ‘Georges Martin’ mentioned by the CCPP collected works of Sisley (probably) after 1900 (see CCPP179 + 183). (R396,p520). It is interesting to know if the old accounts from this art-dealer are available and analysed. In general an art-dealer holds an art-work in stock (ideally) just for a short while. It’s provenance is transient and (probably) often not noted. So, for now, this provenance of Martin doesn’t help us with the identification of no.237.
Moffett (R2,p165) doesn’t give a suggestion, nor does Berson.
Emile Zola (1876/04/29) reviews: ‘There is an effect of snow with a remarkable truthfulness and solidity.’ and later (June 1876) he reviews: ‘He knows how to reproduce snow with remarkable fidelity and accuracy.’ (R90I,p109+113; Note: this also can refer to no. 238 or 240).
Sisley made many snow landscapes, so I just give a very uncertain suggestion:
1874, SDbl, CR147=CCPP142, Snow effect at Louveciennes, 54×65, MB Potsdam (iR10;M268;iR2;iR11;iR40;R38;R129,no147;R396,no142;R88II,p452).
Argenteuil lies east of Marly-le-Roy. Compare also 3IE-1877-224.

2IE-1876-238, Avenue de l’Abreuvoir, effet de givre; Appartient à Mme Latouche
Eng. = Avenue of the watering-place, effect of (hoar-)frost.
For the location on Google-maps see, for a street view of the Abreuvoir see.
Note: Mme Latouche is probably the wife of Louis Latouche (R166,p264). Daulte indicates no work at all as part of her collection, nor do Brame/Lorenceau (R129,p355;R396,p519).
Moffett (R2,p165) doesn’t give a suggestion, Berson omits this work.
To compare I give:
1876, SDbr, CR244=CCPP254, The watering place at Marly, hoarfrost, 38×55, Richmond VMFA (iR2;iR6info;R166,p172;M220), once in the Depeaux collection.
To compare I also mention:
1876, SDbl, CR249=CCPP261, The first hoarfrost, the watering place at Marly-le-Roi, 46×55, private (iR2;R129,no249;R396,no261), once in the collection of Comte Armand Doria, exhibited in 1897.

2IE-1876-239, Une route aux environs de Marly; Appartient à M. Martin
Eng. = A road in the surroundings of Marly.
See for the provenance of M. Martin no.237.
Moffett (R2,p165) doesn’t give a suggestion, nor does Berson. Berson refers (for no.239 or 243) to a review of Blémont who just calls it ‘La Route’ (R90I,p63).
Sisley depicted many roads in and around Marly-le-Roi and Port-Marly. I assume this works depicts a country road. To compare I render:
1873, SDbl, CR75=CCPP100, Environs de Marly-le-Roi, 38×55, private (R129,no75;R396,no100). Provenance: 1891/08/25 Durand-Ruel; 1906/12/10 Cassirer.
Note: a French WikiPedia page (iR4) suggests the following work was exhibited: 1873, SDbl, CR102 (Louveciennes, le chemin de Sèvres) =CCPP98, Chemin de la Machine, Louveciennes, 55×73, Orsay (iR2;iR4;iR40;R53,p74;R17,p171;R38;R166,p120;R129,no102;R396,no98;M1). This painting was once owned by A. Dachery and in his auction sale at Hôtel Drouot it had this title: Route aux environs de Marly, effet d’automne (=HD1899/05/30-47). So, quite similar to no.239 from the 1876 catalogue. This suggestion is not affirmed by the Musée d’Orsay (M1), nor by Joconde (iR23), nor by the CCPP R396,no.98). Still, it is an interesting suggestion further to be researched. I will render it to compare as probably not exhibited. This painting was shown at the Exposition Universelle in 1900.
I render both paintings in a compilation.

2IE-1876-240, L’Abreuvoir de Marly, en hiver; Appartient à M. Martin
Eng. = The watering-place of Marly, in the winter. See also 1876-238.
Moffett (R2,p165+186) suggests with a perhaps CR152, Berson follows, now:
1875, SDbl, CR152=CCPP199, The Watering Place at Marly-le-Roi, 50×66, NG London (M61;iR2;R2,p186;R90II,p45;R129,no199); owned by Pierre-Firmin Martin in 1876.
I follow.

2IE-1876-241, Le bord d’un ruisseau, environs de Paris; Appartient à M. Durand Ruel.
Eng. = The edge of a brook, surroundings of Paris.
E.F. (1876/04/21) reviews in ‘Moniteur des arts’: ‘it is a nice symphony in grey minor’ (R90I,p83)
Moffett (R2,p165) doesn’t give a suggestion, nor does Berson.
To compare I render:
1878, SDbr, CR42 (1872) =CCPP319, Rest beside a stream (Edge of the wood), 74×81, Orsay (iR3;iR8;R53,p62;R38;R129,no42;R396,no319;R166,p36;M1). Daulte dates this work 1872, but the Musée d’Orsay indicates that the actual reading of the date bottom right is 1878 (M1), so does the CCPP (R396). So, I render this work to compare.
According to Gale bought by Durand-Ruel 1872/09/16 for 450fr. If this is true, it would be a good suggestion for no.241 and also for: Vienna-EU-1873, Woman seated by the water; which was send in by Durand-Ruel.

2IE-1876-242, Le chemin des aqueducs; Appartient à M. Durand
Eng. = The road of the aqueduct.
A french Wikipedia page gives interesting information about the aqueduct and Sisley’s paintings of it, see. For a street view see, for the location see.
Moffett and Berson give two suggestions, both being in the collection of Durand-Ruel in 1876:
*1876, SDbr, CR213=CCPP224, At the foot of the Aqueduct at Louveciennes, 46×55, SOR Winterthur (iR2;R53,p62;R90II,p45;R129,no213;R396,no224;M87)
*1874, SDbr, CR133=CCPP122, L’Aqueduc de Marly, Louveciennes, 54×81, Toledo MA (iR6+info,iR8;iR2;R2;R90II,p45+64;R129,no133;R396,no122;M102)
I think the first suggestion is better. The title of the catalogue emphasises the road of the aqueduct and not the aqueduct itself. Still, I also render the Toledo painting. Gale (R53,p82) mentions this Toledo picture was sold to Durand-Ruel in 1876 for 400 francs.

2IE-1876-243, Route de Saint-Germain; Appartient à M. Martin
The Route de Saint-Germain is a large road from Saint-Germain-en-Laye to Marly-le-Roi (more further lies Versailles). For the possible location on Google-maps, see.
For the provenance of M. Martin see no.237.
E.F. (1876/04/21) reviews in ‘Moniteur des arts’: ‘it is rendered in a wide and firm way, without harshness, it is quite out of the ordinary.’ (R90I,p83). Blémont referring to no.239 or 243 just calls it ‘La Route’ (R90I,p63).
Moffett nor Berson give a suggestion.
To compare I render:
1875, SDbr, CR188=CCPP173, La Route de Versailles à Saint-Germain-en-Laye, 51×65, PGM Los Angeles (iR2;iR11;R38;R129,no188;R396,no173;M31).
Compare also: 1IE-1874-161 which has the same title, then owned by the art-dealer Durand-Ruel.

2IE-1876-244, Inondations à Port-Marly; Appartient à M. Legrand
Eng. = floods. Le Port-Marly lies north of Marly-le-Roy along the Seine, see. Also see 1877-227.
Emile Blémont (1876/04/09) reviews it ‘is a painting of great value in our opinion, with its pretty St. Nicholas’s cabaret, its half-drowned trees, its broad horizon, its pale blue and watery sky, of which reflective waves are lost in large planes of water. (R90I,p63) Pierre Dax (1876/05/01) reviews: ‘Mr. Sisley’s landscapes are all remarkable, but the ‘Inondation’ sums up all the qualities to a very high degree.’ (R90I,p70). Jean Dolent reviews: ’there may be a number of other things in art that we don’t understand and we don’t always admit to.’ (R90I,p71) G. d’Olby (1876/04/10): reviews: ‘it is established with notes that look right, the inn, whose feet are bathed in water, is clear-looking and very real. But why does this flood scene, taken in full sunlight, give us an impression of freshness and cheerfulness? It’s not desolate at all, and one would gladly go to this inn and eat fried goby fish under the window.’ (R90I,p100). Punch (1876/04/02) reviews in ‘L’Evenement’: ‘Mr. Sisley, on the other hand, wanted to paint a flood. In fact, if one would have said to me, that he took as his subject a banquet of thirty covers, than I would have believed him just as well. It’s unbelievable, this painting… In the foreground is a house on which these words are written: Gagne le Franc… Does the architect belong to the school of impressionists…?’ (R90I,p105)  Emile Zola (June 1876) reviews: This picture is made with wide brush strokes and delicate colouring.’ (R90I,p113)
Moffett (R2,p165+151) suggests CR240: 1876, SDbl, CR240=CCPP235, L’Inondation à Port-Marly, 60×81, Orsay (iR4;iR2;R17,p107;R2,p151;R53,p104;R129,no240;R396,no235;M1). I follow. The CCPP indicates this was the only work being once in the collection of Legrand.
Sisley painted 4 several pictures of the same scene and spot in 1876 (CR235-241) and already painted the same theme and spot in 1872 (CR22-24).
See link for more information on a french Wikipedia page which affirms Moffett’s suggestion see. See also Gale (R53,p104).

2IE-1876-244+hc1, Inondations à Port-Marly
Silvestre (1876/04/02) reviewed: ‘The ‘Inondations à Marly’ are a very good piece, painted with as much grace as solidity.’ (R90I,p109). Most likely this refers to one painting, the plural ‘are’ refers to the plural in the title ‘floodings’. The same probably can be said of the review of Emile Zola (1876/04/29): ‘His ‘Inondations à Port-Marly’ are large and of fine tones.’ (R90I,p109) But the next two reviews clearly refer to two different works: Emile Blémont (1876/04/09) mentions: ‘I like the second scene of the flood less’ (R90I,p63). E.F. (1876/04/21) reviews in ‘Moniteur des arts’: ‘Mr. Sisley also presented two views of floods in which the transparency of the water and the general tone of the study are the result of a trained eye and a trained hand.’ (R90I,p83). So, there also must have been an ‘inondations à Port-Marly’ that was exhibited outside the catalogue, something that is not mentioned nor by Moffett.
Berson refers to these reviews, but does not give a suggestion and leaves the option it was one of the other works in the catalogue, which doesn’t seem plausible.
As a very uncertain option I render:
1876, SDbr, CR237=CCPP232, (The boat during) The flood at Port-Marly , 50×61, MBA Rouen (HW18;iR27;iR11;iR2;R38;R90I,p63+83;R129,no237=CCPP232;M12).
Daulte indicates that the following numbers render the floodings at Port-Marly: CR22, 23, 24, 235-241 (R129,p346), I like to add CR21 (=CCPP52, 51, 53, 229-235 +50; R396).

2IE-1876-244+hc2, Maison sur les bords de la Marne
Only Berson mentions this work, but doesn’t give a suggestion. She refers to the review of A. de Lostalot (1876/04/01): ‘Maison sur les bords de la Marne; this painting is, besides, the repetition of one of his best works’. (R90I,p87).
As far as I know Sisley has not made a picture with a house on the banks of the Marne. Daulte only mentions two later works depicting the Marne: CR422+426 (R129,p346). The only work I know that was made in that region east of Paris is: 1875, SDbr, CR189=CCPP197, A Road in Seine-et-Marne, 46×61, private (iR2), but this work doesn’t show the river the Marne.
Berson notes: ‘A geographic confusion may explain his mistaking the Marne riverside view for one of the Port-Marly pictures (in the catalogue). If not, the work about which de Lostalot writes was shown hors catalogue. ‘ (R90II,p46).
The only option in the catalogue is number 244, which renders only the inn, which can be seen for a house. Another option is the second painting of the ‘inondations’.
Sisley made some pictures depicting a house or building at the banks of a river / the Seine: CR66=CCPP62, CR89=CCPP72, CR90=CCPP68, CR135=CCPP115, CR177=CCPP189 and 1875, CR-, (Farm along) the Seine at Port-Marly, 55×65, A2016/11/16 (iR11;R17,p105;R38;R166,p154).
I render to compare a compilation of two paintings:
*1873, SDbl, CR66=CCPP62, L’île de la Grand Jatte, 51×65, Orsay (iR2;R53,p64;R129,no66;R396,no62;M1)
*1874, CR135=CCPP115, Le bac à l’entrée de Bougival, 28×41, A2016/02/04 (iR11;iR2;R129,no135;R396,no115;R90I,p87)

 

The third ‘impressionist’ exposition 1877:

Overview:

• catalogue numbers: 211-227
• Sisley showed 1 work outside the catalogue (+hc)
• so Sisley showed 17+1hc=18 works
  • 10x an indication of place
  • 3x an indication of time, season or weather
  • 0x a study
  • 11 of them were loans
    • 3 of M. H. (probably Hoschedé)
    • 3 of M. de Bellio
    • 3 of Charpentier (assuming that M. Ch. also is Charpentier)
    • 1 of Duret
    • 1 of Manet
• In my choices I’m inspired by Moffett (R2,p206) and Berson (R90II,p83/4+102). Sisley his works are not often mentioned and hardly described by the  contemporary art-critics (R90I).
• See link for the pictures.

The catalogue numbers:

3IE-1877-211, Le Chalet; Gelée Blanche; Appartient à M. H…
Eng. = the chalet ; hoar-frost (Nl.=rijp). Moffett (R2,p206) suggests with a perhaps CR208, Berson follows, now: 1876, SDbr, CR208=CCPP221, View of Marly-le-Roi from House at Coeur-Volant, 65×92, Metropolitan (iR2;iR59;R3,p158;R38;R90II,p83+290;R129,no208;R396,no221;M23). Provenance: =!? Hoschedé; sale: HD1878/06/05-88, Châlet dans un parc, 65x92cm.
But the hoar-frost is not visible on this painting, so I render it as an uncertain option.

3IE-1877-212, Le Parc; Appartient à M. H…
Leroy (1877/04/11) describes the work: ‘Some of his landscapes have a surprisingly reasonable appearance. It can only be found completely in No. 212. Here, ducks are splashing on the water, the furrows so deep, so solid that a plough couldn’t do better. Ah, the light wrinkles of poets! … What a swing!’ (R90I,p159/160).
Moffett (R2,p206) suggests with a perhaps CR211 (then in Geneva): 1876, SDbl, CR211=CCPP239, Vue sur Marly-le-Roi, effet de soleil, 54×73, AGO Toronto (R129,no211;R396,no239;M111); provenance: Zygomalas; sale GP1903/06/08-39; Expo: GP1917-93. (Note: I render this in a compilation to compare no.218.) Berson calls the work unidentified, but mentions it may have been in the Hoschedé auction sale (1878/06/06) under the title ‘Pelouse et pièce d’eau dans un parc’ (lawn and piece of water in a parc); but this does not correspond CR211.
As an uncertain suggestion I render a painting that fits the description of Leroy best:
1875, CR-, The Duck Pond, 46×55, A2013/11/06, (iR2; iR11); there also is grass, a water pond and it can be seen as a parc.
Other works of Sisley depicting a parc are:
CCPP83?+87.
Other works of Sisley depicting ducks and/or furrows:
CCPP85 +89.

3IE-1877-213, Route, le soir; Appartient à M. H…
Moffett (R2,p206) suggests with a perhaps CR219: 1876ca, Sbr, CR219=CCPP218, Rue de Louveciennes, soir, 38×55, private (R129,no219;R396,no218), once owned by Georges Petit, so there is no reference to the provenance of Hoschedé. Moffett refers to Brettell (=R17), but I can’t find this reference. I could only find a black and white picture.
Berson calls this work unidentified, but suggests it was part of the Hoschedé auction (1878/06/06) and than would correspond CR102=CCPP98 or CR175=CCPP185, but both works don’t (clearly) depict an evening scene and CR102 wasn’t in the collection of Hoschedé.
To compare I give a painting depicting a road in the evening, which has many similarities with CR219=CCPP218. But, it also is not known to have been in the collection of Hoschedé:
1876ca, Sbl, CR220=CCPP219, A road at Louveciennes, 49×65, A2004/02/03 (iR112;iR15;iR2;R129,no220;R396,no219)
To compare I also mention:
*1876ca, Sbl, CR201=CCPP222, Route de Paris à Saint-Germain-en-Laye, Louveciennes (A road in Marly), 38×56, HMA Atlanta (iR11;iR2;R129,no201;R396,no222), once owned by Guasco and probably depicting the end of day.

3IE-1877-214, Scieurs de long; Appartient à M. de Bellio
Eng. = Board sawyers; Nl. = plankenzagers).
In ‘La petite République français’ (1877/04/10) this work is reviewed as a ‘charming painting to which we wish many pendants’ (R90I,p176).
Moffett (R2,p206+239) suggests: 1876, SDbr, CR230=CCPP227, Pit (Wood) sawyers, 50×66, MPP Paris (iR10;iR6;iR2;R2,p239;R90II,p83+102;R129,no230;R396,no227;M4); it was in the collection of Dr Georges de Bellio. Berson follows, so do I.

3IE-1877-215, Rue de village; Appartient à M. de Bellio
Eng. = road in a village. Moffett (R2) doesn’t give a suggestion. Berson omits this work.
The CCPP mentions just two works that were in the collection of Dr. de Bellio: no.227 + 336 (R396,p515). The first one is suggested for no.214 and the last one was made around 1879 and thematically doesn’t fit no.215 or 216.
To compare I give: 1876, SDbr, CR199=CCPP242, Route de Marly, Port-Marly (Place du Marché), 50×65, Kh Mannheim
(iR2;iR3+info;R3,p159;R129,no199;R396,no242;M51) (WPinfo =iR4)

3IE-1877-216, Les Gressets, village aux environs de Paris; Appartient à M. de Bellio.
Nowadays there is an Avenue des Gressets in La Celle-Saint-Cloud, see, maybe referring to the former village Les Gressets. Still, this spot is 8km south-west of Paris-centre.
On the provenance of Dr. de Bellio see no.215.
Bigot (1877/04/28) mentions the work ‘Les Graissets’ and describes it ‘with a path that climbs up among the grassy slopes.’ (R90I,p134). I could not find a picture depicting Les Gressets, nor Les Graissets. Daulte doesn’t render a work depicting this location (R129,p345).
Moffett (R2) doesn’t give a suggestion, nor does Berson.
So to compare I render a painting with a rising path: 1876ca, Sbl, CR218=CCPP248, Hill Path (Chemin montant), 38×55, MBA Lyon (iR2;iR10;iR8;R8,p68;R129,no218;R396,no248;M217).
Other paintings depicting a rising path with grassy slopes are:
1875, CR??, The Rising Path, 65×51, private (iR2);
1875, CR185, Paysage à Andrésy, 47×56, A2009/11/03 (iR11;R129);
1873-5, CR192, A turn in the road, 55×65, AI Chicago (iR10;iR64;R116II,p147;R38);
1874, CR131, Among the Vines, Louveciennes, 47×56, Chalk NY, (iR2; iR3);
1873, CR80, Paysage avec maisons (Landscape with Houses), 46×61, MBA Strasbourg (iR2;R129);
1873, CR64, Spring in Bougival, 41×57, Philadelphia MA, (iR2;R38);
1868-72ca, CR10, Path near the Parc de Courances, 40×65, A2011/06/21 (iR2;iR11;R38;R166,p91).

3IE-1877-217, La Seine, au Pecq; Appartient à M. Charpentier
Pecq lies north-west of Marly, see , next to Saint-Germain-en-Laye.
The identification of the loaner of no.217 and 218 is unsure. It could be Georges Charpentier, who also would organise the exhibitions at La Vie Moderne and who once owned CCPP158 and p66*. Or Dr. Albert Charpentier, who once owned CCPP114* +297* +353* +372*? +646*. There also is another Charpentier, also living in Paris, who once owned CCPP 209*. (R396,no516) The indicated provenances (*) were acquired much later than 1877. The provenance of Georges Charpentier is most likely, considering his support of the Impressionists in those days. But, CCPP158 doesn’t fit no.217 or 218, so it must be other paintings of which the early provenance of Georges Charpentier isn’t known anymore.

Moffett (R2) doesn’t give a suggestion. Berson omits this work.
An option would be:
1875, SDbl, CR164=CCPP174, The Terrace at Saint-Germain-en-Laye, Spring, 74×99, WAM Baltimore (iR3;iR8;iR2;R129,no164;R396,no174;M48), but Daulte and Wikimedia write that Durand-Ruel bought this work in 1880 from Sisley (see), which contradicts that it belonged to M. Charpentier in 1877. Still I think this work gives the best impression of this work exhibited in 1877. So, I render it to compare.
Other options are:
*1876, CR214, Spring in Saint-Germain-en-Laye, 38×56, private (iR2;R1166,p156);
*1875, CR166, Route tournante, vue de la Seine, 38×61, MBA Rouen (iR10;HW18;R129);
*1876, CR238, The Flood on the Road to Saint-Germain, 46×61, MFA Boston (iR2;R38).

3IE-1877-218, Champs de foin; Appartient à M. Charpentier
Eng. = Hay field.
On the provenance of M. Charpentier see no.217.
Moffett (R2) doesn’t give a suggestion, nor does Berson.
Sisley made many painting depicting field, but no one depicts a hay field.
To compare I render  a compilation of two works:
*1876, SDbl, CR211=CCPP239, Vue sur Marly-le-Roy, effet de soleil, 54×73, AGO Toronto (iR2;iR11;iR10;R116,p148;R129,no211;R396,no239;M111), once owned by Zygomalas. (Note: suggested by Moffett for no.212.)
*1876, SDbr, CR212, Sunlit fields at Saint Cloud, 54×73, Gallery Tokyo (iR2;R129,no212;R396,no216), once owned by Paul Rosenberg.

3IE-1877-219, La Machine de Marly; Appartient à M. Duret
Moffett (R2,p207) suggests CR215, Berson follows, now: 1876ca, Sbl, CR215=CCPP214, Le barrage et la Machine de Marly, Bougival, 38×61, private (iR10;R90,p84+102;R166,p122;R129,no215;R396,no214); it was part of the collection of Duret.
Sisley more often depicted the Machine de Marly:
*1873, CR70=CCPP67, Le barrage de la machine à Marly, 38×61, A2018/11/13 (iR11;iR2;iR10;R166,p122), once in the collection of Mme G. Morris.
*CR67=CCPP66 (=?? 1IE-1874-163), once owned by Bernheim-Jeune.
*CR216=CCPP45, bought 1872/11/25 by Durand-Ruel.
And more often in the distance of river views in the surroundings of Bougival / Louveciennes / Marly.
The machine de Marly is a large hydraulic system to pump the water of the Seine to the Palace of Versailles, see for more info, and for the location see and the Street view.

3IE-1877-220, Le pont d’Argenteuil en 1872; Appartient à M. Manet
Moffett and Berson suggest: 1872, SDbr, CR30=CCPP28, The bridge at Argenteuil, 39×61, Memphis BMA (iR6;iR11;iR59;iR2;R2,p240;R166,104;R129,no30;R396,no28;M167). (This painting was bought by Manet.) I follow.
In 1872 Monet lived in Argenteuil (see). Sisley often visited him.

3IE-1877-221, Bords de la Seine, Coup de vent; Appartient à M. Ch…
Eng.: Banks of the Seine, gust of wind.
Berson suggests this work was a loan by Georges Charpentier. Still, it is curious that at no.217 + 218 this name is written in full and at no.221 as an abbreviation. So, I like to consider the possibility of another loaner. The CCPP renders many possibilities (R396,p516), but many have to be ruled out, because the indicated provenances (*) were much later than 1877 or because the owner was a woman: Chalk (124*); Mme Chambaudet (228*); Mme de la Chapelle (11* +15* +250* +252* +298* +441* +456* + 594* +675* +727*); Chapellier (727*); Chappey (193*); Charlton (375*); Charrell (930*); Chartol (396*); Comtesse de Chaulness (272); Chavan (347*); Cheney Edwards (562*); Chester Beatty (490* +859* +985*); Chiappetta (707*); Mme. Chicandart (181*?); Chollet (147*?); Chorin (296*); Chouanard (794*); Chrysler Jr (438*); Chtchoukine (36*).
There are a few who are considered eligible: Chabrier (156 +267 +306); Chesnau (331); Chevallier (224); Chocquet (269). They are also known as being involved with the ‘impressionists’ in these early years. CCPP156 +306 +224 must be ruled out because of the rendered theme or the date. CCPP331 is dated around 1879, but depicts the Seine. CCPP267 +269 both depict the Seine and one could depict a gust of wind. Chabrier and Chocquet were the first owners, but both unknown since when. Both were dated 1877. If they were made shortly before the first of April they are options for no.221. I will render them as very uncertain options in a compilation:
*1877, SDbl, CR265=CCPP267, La Seine au Point-du-Jour, Billancourt, 38×46, MuMa Le Havre (iR155;iR10;R2,p207;R129,no265;R396,no267;M15), owned by Emmanuel Chabrier, unknown since when.
*1877, SDbl, CR252=CC269, La Seine à Billancourt, vue sur le viaduc d’Auteuil 46×55, MMMK Cairo (R396,no269;R129,no252), owned by Victor Chocquet, unknown since when.

Moffett (R2,p207) suggests with a perhaps CR228, now: 1876, SDbl, CR228 (Bougival) =CCPP209, Banks of the Seine at Argenteuil, 60×73, Cincinnati AM (iR2;R2,p207;R129,no228;R396,no209;M166), once owned by Bernheim-Jeune. Berson mentions this suggestion, but calls this work not identified. This picture doesn’t really depict a gust of wind. I render it as probably not exhibited.
To compare I also render a work that depicts this gust of wind better, but as probably not exhibited:
1877ca, Sbl, CR257=CC290, The Seine near Saint-Cloud, 38×55, A2010/06/18 (iR2;iR11;R2,p207;R90II,p84;R129,no257;R396,no290), once owned by Durand-Ruel.

3IE-1877-222, L’Abreuvoir, à Marly
Eng. = Watering place. For information and location of the Abreuvoir see 2IE-1876-238.
Moffett doesn’t give a suggestion, nor does Berson.
Sisley often painted the Abreuvoir, so identification will be very hard.
I render as a very uncertain option:
1875, SDbr, CR169=CCPP176, The watering place at Marly-le-Roy, 40×56 AI Chicago (iR10;M20;iR2;R17,p100;R166,p172;R129,no169;R396,no176)
There are several other options, such as:
1875, SDbr, CR158=CCPP178 (recto CR159=CCPP177), The watering place at Marly-le-Roi, 46×61, Kh Zürich (iR2;R129,no158;R396,no178;R2,p206;M86)

3IE-1877-223, L’Auberge du Lion-d’Or
Eng. = Inn. Moffett doesn’t give a suggestion. Berson omits this work.
1876, CR202=CCPP246, Inn on Main Street, Marly, 50×65, private (iR2).
In England Sisley had depicted the Mitre Inn (CR123) and the Castle Inn (R166,p130-3). During the floods in Marly, Sisley had depicted the Inn ‘A St. Nicolas’ (CR22, 23, 235, 236, 237, 239, 240). But that’s about it, so I think that my suggestion is a quite good one.

3IE-1877-224, Village de Marly (Effet de neige)
Moffett doesn’t give a suggestion, nor does Berson.
Sisley made several winter scenes in Marly, see CR152-7, 195-8, 243-6.
As uncertain options I render a compilation of:
1876ca, Sbl, CR198=CCPP260, Winter in Port-Marly, effect of snow, 46×55, private (iR2;R129,no198;R396,no260);
and: 1875, SDbr, CR193=CCPP205, La neige à (le parc de) Marly-le-Roi, 46×55, Orsay (iR10;iR94;iR2;R116II,p148;R166,p152;R129,no193;R396,no205), which has a resemblance with CR211, which I render as option for no.218.

3IE-1877-225, Le Lavoir, à Marly
Eng. The wash house. Sisley made some paintings of the wash-house in Bougival in 1875 (CR159+160) + 1877.
Moffett doesn’t give a suggestion, nor does Berson.
As a very uncertain suggestion I give: 1876, SDbl, CR217=CCPP241, The Laundry, 38×55, Worcester AM (iR2;R90II,p84;R2,p207;R129,no217;R396,no241;M221).

3IE-1877-226, La Terrasse, à Marly
Eng. = terrace or dam; Nl. = Dijk, aardwal). Moffett doesn’t give a suggestion, nor does Berson.
A very good option is: 1875, SDbl, CR164=CCPP174, The Terrace at Saint-Germain-en-Laye, Spring, 74×99, WAM Baltimore (iR3;iR8;iR2;R129,no164;R396,no174;M48), a work I suggest for no. 217.
So I now suggest a work that maybe is a narrowed view of CR164: 1876, SDbr, CR214=CCPP223, View on Saint-Germain-en-Laye from the Marly hill, Springtime, 38×56, Km Saint-Gall (iR2;R166,p156;R129,no214;R396,no223), bought by Durand-Ruel in 1877, but unknown when exactly. In both paintings Sisley renders a view on Saint-Germain which lies north-west of Marly-le-Roi, but probably is standing in Marly.
‘Terrasse’ also means ‘dam’. When you compare this with 1877-219 than another suggestion is:
1876, CR216, Waterworks at Marly, 47×62, MFA Boston (iR2;R166,p122); or: 1876, CR215~, Barrage de la Machine de Marly, xx, private (iR10;R166,p122).

3IE-1877-227, Inondations
3IE-1877-227+hc1, Inondations
Eng. = floods. Moffett (R2,p207) suggests any one of CR237-240, Berson follows. Bigot (1877/04/28) mentions two works ‘Inondations de Marly’, he likes the smallest most and remembers that Sisley exhibited several of these works in 1876 (see 1876-244) (R90I,p134). I like to note that Sisley rendered this theme in CR235-241.
For 2IE-1876-244(+hc1) I suggested CR240+CR237.
I now render four options:
*1876, SDbl, CR238=CCPP234, The Flood on Rue de Paris (Route de Saint-Germain), Port-Marly, 46×61, MFA Houston (iR2;R38;R129,no238;R396,no234;M163)
*1876, SDbr, CR241=CCPP233, Flood at Port-Marly, 46×56, FAM Cambridge (iR2;R38;R166,p166;R129,no241;R396,no233;M32)
*1876, SDbr, CR236=CCPP231, The Flood at Port-Marly, 50×61, MNTB Madrid (iR2; iR11;R166,p162;R129,no236;R396,no231;M100)
*1876, SDbr, CR235=CCPP229, Port-Marly before the flooding, 38×55, private (iR2;R129,no235;R396,no229). This one is more uncertain because it depicts the situation before the flood and not during the flood.

 

The seventh ‘impressionist’ exposition 1882:
The catalogue mentions Sisley lived ‘à Moret (Seine et Marne)’. Sisley moved to 88, Route de By, Veneux-Nadon (now: Rue Victor Hugo, Veneux-les-Sablons) in January 1880 (R166,p188). According to Cahn, Sisley moved in September 1882 to close by Moret-sur-Loing (R166,p268), but this contradicts the information from the catalogue. All these places lie south-east of Paris. April 1880 onwards Durand-Ruel again purchased works of Sisley (R166,p50), probably many of them were exhibited in 1882.

Overview:

• catalogue numbers: 162-188
• so Sisley showed 27 works; this also is stated by Henri Rivière (R90I,p409).
  • 18x an indication of place (Veneux-Nadon: 162 +175 +176 +183; Chemin de By: 165; Les Petits-Prés at By: 173; Le chemin des fontaines à By: 180; Saint-Mammès: 169 +179 +182 +185; Saint-Mammès with view on La Celle: 174; Moret: 184; Chevreuil: 187; the Loing: 164; La confluent de la Seine et du Loing: 177; La Seine à St-Denis)
  • 8x an indication of time, season or weather
  • 0x a study

For the suggestions of Moffett / Isaacson see (R2,p395), for the suggestions of Berson see (R90,p212/3 + 233-5).
See link for the pictures.

General reviews:
Paul de Charry (1882/03/14) shortly mentions “The nice landscapes of M. A. Sisley; Les Laveuses, are remarkable and many others that we should choose and take out of here to carry elsewhere.” (R90I,p384)

Hennequin (1882/03/11) reviews that in most of his paintings ’the countryside will appear light blue’ (R90I,p393).
Hustin (1882/03/03) reviews “Look closeby to the landscapes of M. Sisley. Not all of them, because some sacrifices have to be made for the School and show that one hasn’t forgotten the commandments ot this small church.” (R90I,p395)
Hustin (1882/03/10) reviews “M. Sisley deserves extra attention. At some times he sacrafices himself to the impressionist conventions, but one can be assured that it is just by form, in a disciplined spirit the epithet by which the new church intends to designate itself. His au Bord du Loing, his Laveuses, his view of Saint-Mammès, his Seine à Saint Denis and his view on Moret, contain very good notes and constitute even a very acceptable collection. But those that carry the numbers 167, 168, 169, 178, 184.” (R90I,p396)
Huysmans (1883) calls his eye ‘less deliriant’ than Pissarro and Monet; sees the influence of Daubigny and Piette, and describes that his works ‘also have a pretty melancholic smile and often even a great charm of beauty’ (R90I,p398).
Jean de Nivelle (1882/03/04) reviews “With M. Sisley, we return to the landscapes, and looking at the quantity, one finds, as required, some fair ones, were it not for the singular premeditation of sticking nonsense next to a good thing, such as Soleil d’hiver à Veneux, an illuminating landscape in which meanders a fully blue river, between the birch trees planted in the violet earth and whose branches don’t have the power to carry a bird. The talented artist reveals hisself, meanwhile, in some canvasses in which there would be little to do, to make them completely good, like the Prairie le matin and l’Effet du soir, where the biased man has proved a happy moment of distraction for himself and the visitor” (R90I,p407).
Sallanches (1882/03/03) comments Sisley paints with river soil (‘barbotine’) and his clouds are unlikely; he doesn’t describe any work (R90I,p412).
Armand Silvestre (1882/03/11) calls Sisley less bold than Monet (R90I,p413).

The catalogue numbers:

7IE-1882-162, Prairie de Veneux-Nadon
Veneux-Nadon is now called Veneux-les-Sablons (see). There are still roads called after Nadon (see).
There were no reviews. Moffett and Berson suggest (with a perhaps) CR430 in a private collection in Winterthur (according to Berson the location in unknown). Now: 1881ca, Sbl, CR430=CCPP470, Meadows at Veneux-Nadon, 60×81, MB Potsdam (iR2;iR59;R1,p471;R90,p233+212;R2,p395;R129,no430;R396,no470;M268) This suggestion is affirmed by the CCPP and the Museum Barberini in Potsdam. It was in the Durand-Ruel collection till 1888/05/10, but unknown since when.
Sisley often depicted the fields around Veneux-Nadon, the following work (owned by Durand-Ruel) could be uncertain alternative: CCPP465.

7IE-1882-163, Après-midi d’Août
Eng. = afternoon in August. There were references in 4 reviews. Hennequin mentions his just reflections. Silvestre (1882/03/11) reviews that ’the blues are of a true colorist’ (R90I,p413).
Moffett and Berson suggest CR436. Now: CR436=CCPP462, 1881ca, Sbr, An August afternoon near Veneux-Nadon, 54×73, A1989/11/28 (iR2;iR14;iR59;R90II,p212+233;R219,no436;R396,no462), owned by Durand-Ruel 1881/08/25 – 1925/01/21. This is affirmed by the CCPP. I follow.

7IE-1882-164, Au bord du Loing
There were 5 reviews. Moffett and Berson suggest (with a perhaps) CR410. Now: 1881ca, Sbr, CR410=CCPP473, River banks at Veneux-Nadon, 60×81, Johannesburg AG (iR6;R2,p395;R90II,p212;R219,no410;R396,no473), bought by Durand-Ruel 1882/02/27. This is affirmed by the CCPP. I follow.
Note: Caroline Durand-Ruel Godfroy suggests CR412=CCPP485, Spring on the banks of the Loing, sold 1882/03/30 for 1.200fr to Emile Boivin. (R166,p39+51,note36)
The Loing is a river that flows into the Seine at Saint-Mammès. It’s source is in Sainte-Colombe-sur-Loing, see.

7IE-1882-165, Le chemin de By
Only Sallanches refers to it and calls it, with some other works, the most remarkable. Moffett and Berson suggest CR435, now in a private collection in Berne (according to Berson location unknown). Now: 1881ca, CR435=CCPP451, Sbl, Le chemin de By (près de Moret-sur-Loing), 60×81, private (R396,p188,CCPP451;R129,no435;R90II,p212+233), bought by Durand-Ruel 1881/11/25. I only could find a black and white picture.
Sisley made another picture depicting the Chemin de By: 1881/11/11ca, Sbl, CR433=CCPP450, Chemin de By at Roches-Courtaut woods, Indian summer (été de la Saint-Martin), 60×81, MBA Montreal (iR2;iR27;iR10;R166,no53;R129,no433;R396,no450;M110), also owned by Durand-Ruel, but unsure since when. I think it is also an option for no.165, though the sub-title doesn’t return in the 1882 catalogue. I will render both pictures in a compilation.
The chemin de By lies north of Veneux, see.

7IE-1882-166, Les Laveuses
Paul de Charry (1882/03/14) calls this work remarkable (R90I,p384). Hustin mentions it among others.
Moffett doesn’t give a suggestion, nor does Berson.
I render two (very) uncertain options in a compilation:
*1882ca, Sbl, CR466=CCPP512, Washerwomen, near Champagne, 54×65, Ottawa NGC (iR2;iR11;R129,no466;R396,no512;M113), bought by Durand-Ruel shortly after the exhibition 1882/06/10.
*1879ca, Sbr, CR-/CCPP359, Washerwomen near Champagne, 60×73, A2016/02/03 (iR2;iR14;iR11;R396,no359). The first (known) owner was Armand Amante; this makes it a more uncertain option.

7IE-1882-167, Pâle soleil d’automne
Eng. = pale sunlight in autumn. Silvestre (1882/03/11) seeing this work, remembers a verse of Verlaine: ‘A weak dawn. Pouring through the fields. Melancholy. Setting suns.’ (R90I,p413). Hustin just mention (in favour) the number. Moffett and Berson suggest CR335. Now: 1879ca, CR335=CCPP363, Autumn sun (morning), 72×53, A2010/03/19 (R396,no363;R129,no335;iR13;iR10;iR59;iR2;R90,p212+233) Provenance: 1881/12/11 Durand-Ruel. This is confirmed by the CCPP. I follow.

7IE-1882-168, Cabane au bord de l’eau
Eng.: Hut along the water; Nl. hut of hok. Rivière (1882/03/11) reviews ‘a true raw tone’ (R90I,p413). Hustin just mentions (in favour) the number. Moffett doesn’t give a suggestion, nor does Berson.
Most likely is that Sisley depicted a ‘Cabane along the Loing’, near Moret-sur-Loing as he often did in 1896: see CCPP961 +962 +963 +964 +965 +966 +969 (and also 970 +974), they are all signed and dated. They all depict more than 1 hut.
Compare also ‘Waterside hut’ shown at the 1883 solo exhibition and sold 1883/08/09 by Durand-Ruel to Georges Petit (R166,p52,note50).
So, I assume that Sisley depicted this same scene around 1882 during his first stay in Moret-sur-Loing.
To compare I render: 1896, SDbl, CR855=CCPP961, Cabanes au bord du Loing, le matin par temps couvert (near Moret-sur-Loing), 46×55, A2011/06/21 (iR155;iR10;iR15;R129,no855;R396,no961;R2,p395;R166,p52,note50).

Another option is that Sisley depicted part of the boatyard of Matrat, which depicts a building which is half open and can be called a cabin / hut. The only other (wooden) buildings along the water that Sisley depicted were washing places like CCPP164 +177 (both not in the Durand-Ruel collection in 1882). Sisley depicted the boatyard of Matrat several times (CCPP448 +449 +547 +768 +769-772 +906 +907), but mostly in later years. CCPP448 +449 are both good options, since they were bought by Durand-Ruel in 1881. I render them in a compilation.
*1881ca, CR449=CCPP450, Sbl, The boatyard of Matrat, February morning, near Moret-sur-Loing, 55×73, A2005/05/04 (iR2;iR11;R129,no450;R396,no449)
*1881ca, CR450=CCPP448, A February Morning at Moret-sur-Loing, 50×65, A1999/06/29 (iR2;iR11;iR10;R129), a work bought by Durant-Ruel 1881/03/03.

7IE-1882-169, Saint-Mammès, temps gris
There were two reviews. Hustin just mentions the number. La Fare calls it more interesting. Moffett (R2,p395+418) and Berson suggest CR374; the CCPP follows (no.421). Now: 1880ca, CR374=CCPP421, Overcast day on the Seine, Saint-Mammès, 55×74, MFA Boston (iR6;iR2;R2,p418;R90,p234;R129,no374;R396,no421;M22), bought by Durand-Ruel 1880/10/28. I follow. The Boston museum doesn’t give information on when this painting was exhibited (M22).
Saint-Mammès is about 60km south-east of Paris, see.

7IE-1882-170, La prairie, le matin
There were two reviews. Hennequin mentions his just reflections. Jean de Nivelle speaks well of it. Moffett and Berson suggest (with a perhaps) CR429, now: 1881ca, Sbr, CR429=CCPP476, Willows in a field, a morning in May, 50×60, A1983/05/18 (iR2;iR14;R90,p213+234;R129,no429;R396,no476), bought 1881/05/25 by Durand-Ruel. I follow.
Compare: 1881, Saint-Mammes, Le matin (Morning), 50×74, Boston MFA.

7IE-1882-171, Effet du soir
Jean de Nivelle speaks well of it. Moffett and Berson don’t give a suggestion.
Sisley more often depicted morning effects. Also some setting suns. He rendered just a few explicit evening effects: CCPP368 +373 +443, but (as far as known) they were not in the collection of Durand-Ruel in 1882.
*1880ca, Sbl, CR389=CCPP443, Le soir au bord de l’eau, septembre, 54×73, A2024/03/06 (iR10;iR14;R129,no389;R396,no443). In 1897 in the collection of Mme Pierson. This one I will render as a very uncertain option.
I mention two other very uncertain options:
*1879ca, Sbr, CR332=CCPP373, Village au bord de la Seine, effet du soir, 38×46, A1983/06/27 ((iR15;R129,no332;R396,no373). First owned by Dachery (sale HD1899/05/30-55).
*1879ca, Sbl, CR304=CCPP368, An Autumn evening near Paris, 50×65, A2003/02/04 (iR2;iR15;iR11;R129,no304;R396,no368). First owned by Bernheim-Jeune, but unknown since when.

7IE-1882-172, Paysage, temps orageuse
Eng.: landscape, stormy weather; NL : stormachtig. There were no reviews. Moffett and Berson suggest (with a perhaps) CR405. Now: 1880-81ca, Sbr, CR405=CCPP397, Le chemin de Petits-Prés à By, temps d’orage, 55×73, MAH Meudon (loan Musée d’Orsay) (iR10;iR48;R90,p213+234;R129,no405;R396,no397), bought 1881/04/20 by Durand-Ruel
I couldn’t find ‘Le chemin de Petits-Prés‘ on Google Maps, but there is a ‘Chemin de prés’ in Saint-Mammès, see, and in Thomery, north of Veneux, see.
To compare I also mention:
1879ca, Sbr, CR317=CCPP365, Temps orageux près de Veneux-Nadon, 65×54, private (R129,no317;R396,no365) Provenance: 1880/06/04 Durand-Ruel; 1882/05/08 Clapisson.

7IE-1882-173, Les petits prés à By
Eng.: The little meadows near By, but probably Les Petits-Prés was the name of a field or area at By, so also the suggestion for no.172.
There were no reviews. Moffett / Isaacson and Berson suggest (with a perhaps) CR428, now: 1881, CR428=CCPP458, Les Petits-Prés à By, 60×73, ACBA Bergamo (or: AMBR Remagen) (iR172;iR10;iR2;R129,no428;R396,no458;R90II,p234;R2,p395). But Durand-Ruel didn’t own it in 1882. He bought it 1892/06/25 from  Jules Feder. This makes the suggestion a bit uncertain.
Sisley more often depicted Les Petits-Prés at By, namely in CCPP394 +397. The last one was owned by Durand-Ruel since 1881/04/20, so I assume it is a better option, but this one is suggested for no.172, so that leaves us with CR428=CCPP458, but I will render it as an uncertain option.

7IE-1882-174, St Mammès et les coteaux de la Celle
Les coteaux = Eng.: the slopes / hillside. There were no reviews. Moffett doesn’t give a suggestion, nor does Berson.
Sisley more often depicted the slopes / hills of La Celle-sur-Seine opposite Saint-Mammès.
As a very uncertain option I render: 1880, SDbl, CR376=CCPP416, Sunrise on the Seine, Saint-Mammès, 50×65, A1987/11/10 (iR2;iR15;R166,p192;R129,no376;R396,no416), bought 1880/10/12 by Durand-Ruel.
Note: this work has similarities with no.169=CR374=CCPP421.

7IE-1882-175, Un noyer  à Veneux
Eng.: Walnut Tree; NL. = notenboom. In the only review, Henri Rivière (1882/04/08) calls this work ‘une bonne étude de noyer’ (R90I,p409).
Moffett and Berson suggest CR432, according to Moffett in a private collection, according to Berson the location is unknown, now: 1881ca, Sbr, CR432=CCPP463, Noyer à Veneux-Nadon, coucher du soleil, 50×65, private (iR6;R90,p213;R219,no432;R396,no463) bought by Durand-Ruel 1880/12/29. Note: the subtitle ‘sunset’ is not part of the 1882 title. I only can render a black and white picture.
As a more uncertain second option I also render: 1880ca, Sbl, CR397=CCPP431, Walnut tree in a Thomery field, 58×72, A2012/05/02 (iR2;iR14;R129,no397;R396,no431), bought 1881/09/12 by Durand-Ruel. Note: the Thomery field could well be part of Veneux, but this work is less a ‘study’ than CR432=CCPP463.
I render a compilation of both pictures.
For Veneux see 1882-162.

7IE-1882-176, Soleil d’hiver à Veneux
Jean de Nivelle describes it as “an illuminating landscape in which meanders a fully blue river, between the birch trees planted in the violet earth and whose branches don’t have the power to carry a bird.” Bigot calls it a ‘Vue d’hiver’ and Silvestre calls it ‘maybe the most complete work’.
Moffett and Berson suggest CR341, now: 1879, SDbr, CR341=CCPP364, Winter sun in Veneux-Nadon, 50×65, A2020/02/06 (iR11;iR10;R90II,p213+234;R90I,p407;R129,no341;R396,no364), bought 1882/02/10 by Durand-Ruel.
There are many green leaves and foliage depicted in this suggested picture, which looks more like an early Spring landscape, despite the given title.
But moreover, this suggestion doesn’t fit the description of Jean de Nivelle, who reviews ‘an illuminating landscape through which meanders a fully blue river, between birch trees in violet earth and whose branches wouldn’t have the strength to support a bird.’ (R90I,p407).
This ‘blue river’ doesn’t correspond the suggested painting, that depicts a meandering road. A work that comes close to the description of de Nivelle is the one exhibited as no.164 (=CR410=CCPP473). But, maybe even the next painting is the best option, despite the title (Autumn) and the fact that Durand-Ruel only bought it 1891/08/25: 1880-81ca, Sbl, CR420=CCPP429, Banks of the Loing, Autumn Effect, 66×82, MdI Jerusalem (iR4;iR8;iR11;R166,p48;R129,no420;R396,no429;M130).
Other options maybe are (of which I have only black and white pictures, so hard to judge):
*1881ca, CR411=CCPP475, Soleil d’hiver, après-midi à Veneux-Nadon. E. Kohn is mentioned as owner, but unknown since when.
*1881ca, CR437=CCPP452, Sbl, Sentier sur les Roches-Courtaut, autumne, 54×73, private, given for no.181.
For Veneux see 1882-162.

7IE-1882-177, La confluent de la Seine et du Loing
There were reviews of Sallanches and Silvestre. Sallanches (1882/03/03) remarks: ‘If the landscape is good, the sky, on the other hand, remains unsatisfactory, the clouds are improbable.’ (R90I,p412). Silvestre calls it ‘a grand impression de plein air.’
Moffett and Berson don’t give a suggestion.
I suggest: 1881ca, Sbr, CR421=CCPP478, The Seine at Saint-Mammès, morning, 50×74, 2011/11/02 (iR10;iR6;iR14;iR2;iR11;R166,p198;R129,no421;R396,no478), formerly in the Museum of Fine Arts in Boston (M22). This picture depicts the confluence of the Seine and the Loing most clearly (R166,p198). Stevens nor the MFA in Boston suggest this work was exhibited in 1882. The order of the provenance is unclear (R396,no478;R166,no52), but Durand-Ruel isn’t mentioned, which makes this suggestion more uncertain.
Another option is: 1880-81ca, Sbl, CR426=CCPP481, View of Saint-Mammès (The banks of the Loing (or the Seine), Saint-Mammès in the distance), 54×73, WAM Baltimore (iR6;iR2;R166,p194;R38;R129,no426;R396,no481;M48). The confluence is only visible in the far distance, but the clouds are more typical, which would affiliate the description of Sallanches. Also, this picture was part of the Durand-Ruel collection, though it is unclear since when. Again Stevens doesn’t suggest this work was exhibited in 1882 (R166,p194). The Baltimore museum doesn’t give suggestion for the older exhibition history (M48). Note: I assume the Seine is depicted, not the Loing.
Sisley more often depicted the confluent of the Seine and the Loing, see CCPP 633 +634 +637 +638 (R396).
Topographically: On the west side of the confluence lies Veneux and on the east side Saint-Mammès on the north side Champagne-sur-Seine (iR9).

7IE-1882-178, La Seine à St-Denis
Hustin two times refers to it. Moffett and Berson don’t give a suggestion.
As an uncertain option I render:
1872ca, Sbl, CR47=CCPP38, The Island of Saint-Denis, 51×65, Orsay (iR2;R129,no47;R396,no38;R166,p51,no7+10;M1) Provenance: Durand-Ruel (inventory 1873, pl.13) (iR19=R243).
=? 7SFA-1873-114, The Ile Saint-Denis.
As very uncertain options I render two works in a compilation as probably not exhibited:
*1872, SDbl, CR27=CCPP37, Fishermen spreading out their nets, Villeneuve-la-Garenne, 50×65, KAM Fort Worth (M224;iR2;R38;R166,p108;R129,no27;R396,no37), a work that was owned by Durand-Ruel since 1872/04/30 and already exhibited in London in 1872/3 (R166,p108). Across the bridge lies Île Saint-Denis. Saint-Denis lies at the west side of Paris, at the right / east bank of the Seine, at the opposite bank lies Villeneuve-la-Garenne and in the middle Île Saint-Denis, see.
*1872ca, Sbl, CR48=CCPP39, Bords de la Seine, Île Saint-Denis, 46×65, private (iR2;R129,no48;R396,no39), bought in 1877 by Durand-Ruel.

7IE-1882-179, Saint-Mammès
Moffett doesn’t give a suggestion. Berson omits this work. The work is not mentioned by the art-critics (R90I).
Sisley made a lot of pictures of and in Saint-Mammès, see also 1882-169. So the title doesn’t give much help. No. 185 has the same title.
As uncertain options I render:
*1880ca, Sbr, CR425=CCPP420, (Road along) the bank of the Seine at Saint-Mammès, 74×54, Dallas MA (iR10;iR174;iR166;iR2;iR11;R129,no425;R396,no420;M36), a work that was bought by Durand-Ruel 1881/07/28. Note: the CCPP doesn’t confirm my suggestion (R396,no420); the Dallas museum doesn’t give information on when this painting was exhibited (M36).
*1879-80ca, Sbl, CR360=CCPP362, (Road along the bank of the Seine at) Saint-Mammès, 46×38, A2014/05/08 (iR10;iR175;iR14;iR2;iR11;iR174;R129,no360;R396,no362); bought by Durand-Ruel 1880/07/08.

7IE-1882-180, Le chemin des fontaines à By
There is no Chemin des Fontaines anymore, nor in Veneux-les-Sablons, nor in Thomery (iR9).
There were no reviews. Moffett (R2,p395) suggest with a perhaps CR434. Berson follows, now: 1881, CR434=CCPP457, SDbr, Le chemin des Fontaines près de By, matin de mai, 65×50 (R396,p190;R90II,p213+235), bought 1881/05/23 by Durand-Ruel and also exhibited GP1897-90. I could only find a black and white picture, which I will render, lacking a similar picture.
Daulte indicates that Sisley depicted this Chemin des Fontaines several times: CR434, 541, 650, 651, 652, the last 3 depict with an abondonned house are made around 1886/87 (R129,p347); the corresponding CCPP numbers are: 457, 552, 731, 717, 718. CR541=CCPP552 is dated 1884 and hasn’t much similarities with CR434=CCPP457.
For Veneux see 1882-162; for By see 1882-165.

7IE-1882-181, La sente des roches
Eng.: the footpath. Maybe now the ‘chemin des Roches Courteau‘. Roches was a wood along the Seine near By / Veneux, see. Berson suggest that Silvestre referred to this work, but I can’t find a remark. Moffett / Isaacson (R2,p395) suggests with a perhaps CR437. Berson follows this suggestion and discribes it more fully, now: 1881ca, CR437=CCPP452, Sbl, Sentier sur les Roches-Courtaut, autumne, 54×73, private (R129), bought by Durand-Ruel 1882/01/14. I only could  find a black and white picture.
So to compare I render a picture with a similar view: 1880ca, CR404=CCPP444, Sbl, Hiver à Veneux-Nadon, les bruyères, 50×73, A1961/12/13 (R396,p186,no444;R129,no404). It was owned by Henri Vever (sale GP1897/02/01-113).
Other works made in les Roches-Courtaut are:
*1881/11/11ca, Sbl, CR433=CCPP450, Chemin de By at Roches-Courtaut woods, Indian summer (été de la Saint-Martin), 60×81, MBA Montreal (iR2;iR27;iR10;R166,no53;R129,no433;R396,no450;M110), bought by Durand-Ruel, but unknown when.
*1880, CR403=CCPP400, The Roches-Courtaut Wood, near By, 50×65, private;
*1881, CR420=CCPP429, Banks of the Loing, Autumn Effect, 66×82, MdI Jerusalem (iR4;iR8;iR11;R166,p48;R90,p235), bought by  Durand-Ruel in 1891.
*1880, SDbl, CR408=CCPP399, Le sentier du Bois des Roches-Courtant (Veneux-Nadon), matinée d’hiver, 73×55, Louvre;
*1884, CR539=CCPP553, A Corner of the Roches-Courtaut Woods, June, 73×60, private (iR172;R129), bought by Durand-Ruel 1884/06/21.

7IE-1882-182, La vue du bord de l’eau à Saint-Mammès
Eng.: The view along the water at Saint-Mammès. For Saint-Mammès see 1882-169.
Moffett doesn’t give a suggestion, neither does Berson. Maybe Hustin shortly refers to this work.
As an uncertain suggestion I give: 1880ca, Sbr, CR388=CCPP422, Riverbank at Saint-Mammès, 51×66, A2017/06/27 (iR2;iR15;iR11;R129,no388;R396,no422), a painting bought by Durand-Ruel, but uncertain when.

7IE-1882-183, La berge de la prairie de Veneux-Nadon
Eng.: The (river)bank of the meadow of V-N. For Veneux see 1882-162.
Silvestre mentions the heaviness of the execution. Moffett and Berson suggest CR384=CCPP403, now: 1880, SDbl, La berge de la prairie de Veneux-Nadon, 49×65, private collection; bought by Durand-Ruel 1880/06/21. I could only find a black and white picture.
As an uncertain option I also give: 1881, CR423=CCPP465, The fields and hills of Veneux-Nadon, 54×73, A2004/02/02 (iRx;R129), bought  by Durand-Ruel in 1882.
Rivière (1882/03/11) reviewed ‘I’d blame a little heavy-handedness of execution’ (R90I,p413). This could refer to several works; the black and white picture doesn’t give much inside if it fits CR384=CCPP403; it could fit CR423=CCPP465.
I don’t know on which grounds the choice for CR384=CCPP403 is made, so I will render it as perhaps exhibited as no.183.

7IE-1882-184, Vue de Moret
Eng.: View of Moret. Sisley made many pictures of Moret-sur-Loing (R129,p346). Moret-sur-Loing =65km south-east of Paris, see, it lies east of Veneux-les-Sablons.
Moffett doesn’t give a suggestion, nor does Berson. Hustin refers two times to this work.
As an uncertain suggestion I give: 1880ca, Sbr, CR352=CCPP387, View of Moret-sur-Loing, 38×55, A1981/05/21 (iR2;iR14;R129,no352;R396,no387), it was bought by Durand-Ruel, but unclear when.
Around 1880 Sisley made 3 views on Moret in the Spring, taken from the hills of Saint-Mammès:
*1880ca, Sbl, CR351=CCPP409, On the hill of Moret in Springtime, morning (Moret, vue des hauteurs de Saint-Mammès, matinée de printemps, 65×92, Princeton UAM (iR2;R129,no351;R396,no409;M44); bought by  Durand-Ruel 1883/05/21.
*1880ca, Sbl, CR353=CCPP410, Vue de Moret au printemps (Moret, vue des hauteurs de Saint-Mammès au printemps), 60×73, A1969/11/06 (R129;iR15); bought by  Durand-Ruel August 1883; exhibited DR1902-9.
*1880ca, Sbl, CR354=CCPP411, Moret, les hauteurs de Saint-Mammès au printemps, 54×73, A2012/12/03 (iR11;iR2;R129,no354;R396,no411); provenance: Dr. Elias, Berlin; 1914/03/12 Durand-Ruel. Note: this provenance makes it an unfit suggestion.
I will render CR352=CCPP387 and CR351=CCPP409 as uncertain options in a compilation.
Around 1881 Sisley made two views of Moret made along the banks of the Loing canal: CR449=CCPP448 and CR450=CCPP449, which I render as uncertain options for no. 168.

7IE-1882-185, Saint-Mammès
For Saint-Mammès see 1882-169. See also my remark at 1882-179 with the same title.
Moffett doesn’t give a suggestion, nor does Berson.
As a very uncertain suggestion I give: 1881ca, Sbr, CR422=CCPP480, View of Saint-Mammès, 54×74, CMA Pittsburgh (iR2;R166,p196;R129,no422;R396,no480;M35), a work bought by Durand-Ruel 1881/07/23. Note: My suggestion isn’t affirmed by the CCPP (no.480); the Pittsburgh museum doesn’t render info on when the painting was exhibited (M35).
Silvestre (1882/03/11) (in the only review) calls it ‘Vue de Saint-Mammès and calls it (together with no.179) ‘a great impression of open air’ (R90I,p413). This made me choose for a distant view and not for a city view like I choose for no. 179.

7IE-1882-186, Après-midi de Septembre en bateau
Eng.: Afternoon in September in a boat. Salanches calls it ‘more remarkable’. Moffett and Berson suggest CR473, now: 1882ca, Sbl, CR473=CCPP503, En canot à Veneux-Nadon, après-midi de september, 47×56, A2005/02/08 (iR11;iR14;R90II,p213+235;R219,no473;R396,no503) This is confirmed by the CCPP. Note: When it was exhibited in 1882, it must have been made September 1881. Durand-Ruel only bought it 1882/10/03, so after the exhibition. Still, I follow, but as a more uncertain suggestion.

7IE-1882-187, L’étang de Chevreuil
Eng.: The lake of Chevreuil. Le chevreuil means the roe deer.
There is a étang de Chevreuil (see), north of Le Val du Tellier which is part of Orne,  about 120km south-west of Paris, but it’s not quite likely Sisley ever went there. Close to Sèvres, there were 3 lakes, see. There is a small lake in ‘Espace naturel sensible du Lutin’, not far from where Sisley lived, see. There also is an Étang-de-Moret, with a lake-like broadening of the Orvanne; it also includes Le Chemin de l’étang, see no.188 (iR9). I suppose this last lake it meant, though I have no idea where the name Chevreuil comes from.
There were two reviews.  Moffett doesn’t give a suggestion, nor does Berson.
The only explicit painting of a lake I could find is a later painting, which has the same title: 1888ca, CR668=CCPP781, L’Etang de Chevreuil, 50×65, private (iR10;iR64;iR2;R129,no668;R396,no781), bought by Durand-Ruel 1888/11/09. So, I assume that the original painting exhibited in 1882 is lost and that Sisley later on repeated the same theme; or: the date of the painting rendered is incorrect and must be date around 1882.
There is one other painting that also could render a lake: 1880ca, Sbr, CR375=CCPP389, Le Loing à Moret, temps gris, 65×92, A1962/04/10 (R396,no388;R129,no386), bought by Durand-Ruel in 1881. I only have a black and white picture.
To compare I also mention the earlier work: 1875, CR-, The Duck Pond, 46×55, A2013/11/06, (iR2; iR11), maybe exhibited as 2IE-1876-241.

7IE-1882-188, Le chemin de l’étang
Eng.: the path / road to the lake. There is a chemin de l’étang in Moret-sur-Loing, leading around the Étang de Moret, a lake in the middle of the Orvanne. The Chemin de l’étang also crosses the Orvanne, see; so it is well possible this work showed a bridge. (To compare: there also is a small lake in Veneux-Nadon, see 7IE-1882-187.)
There were two reviews. Moffett doesn’t give a suggestion, nor does Berson.
I assume the following work is the best option: 1880ca, Sbl, CR375=CCPP389, Petit pont sur l’Orvanne, matinée de mars, 50×65, private (R396,no389;R129,no375;iR10). It was bougth by Durand-Ruel 1881/03/16. Note: I only have a black and white picture.
To compare I also render: 1890, SDbr, CR751=CCPP959 (1896), Small bridge over the Orvanne, 38×54, A2015/05/06 (iRx;iR14;R166,p202;R129,no751;R396,no959).
I render a compilation.

A quite other option is 1881ca, Sbl, CR417=CCPP464, Chemin à Veneux-Nadon, 50×65, private. This work is suggested for 8XX-1891-?, Path to the pond (R166,p47+53,note97), send in by Durand-Ruel. Maybe this is the same as: London-DG-EtI-1884-?6, The path to the pond, also send in by Durand-Ruel. There is a clear similarity with the title of no.188. Still, the suggested work is indicated to have been bought by Durand-Ruel only in 1892/11/23, that wouldn’t make it a good option for neither of the paintings exhibited. I only have a black and white picture, therefore I can’t clearly see if a pond is depicted. So, I hereby just mention the option.

 

Alfred Sisley at the Salon:
My main sources are the Salon database of Musée d’Orsay and Blondel (aR1). For the additional sources see at the bottom of the main page of Alfred Sisley.  Note: an artist often submitted two works at the Salon.

1866:
This was his debut at the Salon. Sisley is called a pupil of Gleyre. This is the only time it is mentioned. His adres was: rue Moncey, 15.

S1866-1785, Femmes allant au bois ; paysage.
now probably: 1866, CR4, Street of Marlotte  (Women Going to the Woods), 65×92, BMA Tokyo. Note: also exhibited in Lille 1866/07/22 onwards (R248).

S1866-1786, Une rue de Marlotte ; environs de Fontainebleau.
now probably is:1866, CR3, Village Street in Marlotte, 50×92, Buffalo AKAG. Note: also exhibited in Lille 1866/07/22 onwards (R248).
These works were probably made around Februar 1866, when Sisley was painting with Renoir and Jules le Coeur in Marlotte and surroundings. Note the diagonal of the village street. Note the sharply contrasted light and shade. Note the rendering of working people. Note that Sisley is rendering variations of the same theme. (R166,p91)

1867:
Sisley was rejected (R53,p140). Maybe: 1867, CR5, Still- Life, Heron with spread wings, 81×100, MF Montpellier, (iR2;iR11; R53,p46;R1,p182;R38;R166,p96).

1868:
His adres was: Rue de la Paix, 9. He exhibited 1 work. Mayby 1 work was rejected.

S1868-2312, Avenue de châtaigniers, près la Celle-Saint-Cloud .
Now probably: 1867, CR9, Avenue of Chestnut Trees near La Celle-Saint-Cloud, 95×122, Southampton CAG
Châtaigniers = chestnut trees. La Celle-Saint-Cloud lies south of Bougival and about 15km west of Paris. For a possible location see .

1869:
Sisley was rejected (R53,p140). Maybe: 1869, CR12,  View of Montmartre, from the Cité des Fleurs aux Batignolles, 70×117, MdGrenoble (iR11;iR2;R53,p48;R8,p137;R166,98).

1870:
His adres was: Cité des Fleurs, 27.

S1870-2650, Péniches sur le canal Saint-Martin.
Now: 1870, CR17, Péniches sur le canal Saint-Martin (Barges on the Saint-Martin Canal), 54×73, Orsay or Winterthur. This work was bought by Manet. Péniche = Rhine barge. For the location see .

S1870-2651, Vue du canal Saint-Martin.
Now: 1870, CR16 , Vue du canal Saint Martin Canal, 50×65, Orsay. This work was bought by Dr. Gachet (R166,p100).
For a comment on these two works also see the introduction to the main page of Sisley. Note that Sisley renders a more industrial scene. Note also the wide expanse of water and sky. With these two works Sisley exhibited two variations on the same theme. The works stayed unnoticed at the Salon (R166,p100).

1871:
There was no Salon due to the Franco-Prussian war.

1872:
Sisley did not submit to the Salon (R53,p141)

1873:
Sisley did not submit to the Salon (R53, p141). Still Monneret mentions he was rejected (R88II,p395).

1874-1882:
Sisley joins the ‘impressionist’ expositions of 1874, 1876, 1877 and 1882.

1876:
According to the catalogue of the Dachery sale at Hôtel Drouot 1899/05/30, no. 48 from the catalogue was rejected for the Salon of 1876 (iR40,bpt6k1247618p). This work now is: 1874, SDbr, CR134 =CCPP136, The Bell Tower at Noisy-le-Roi, Autumn, 46×61, BC Glasgow (iR2;iR10;iR173;iR40;M277;R166,p142;R129,no134;R396,no136;R88II,p451)

1878
Sisley is rejected at the Salon (R53,p141). A very uncertain suggestion (a relatively large work): 1878, CR288, Landscape at Sèvres, 92×73, private (iR2).

1879:
Sisley is rejected at the Salon (R87,p253;R166,p267;R5,p113;R88II,p400).

1880:
Sisley tried to exhibit at the Salon (de la Société des Artistes Français) (R166,p267).

 

Alfred Sisley at the Salon de la Société Nationale des Beaux-Arts:
Sisley exhibited at the Salon de la Société Nationale des Beaux-Arts, an independant alternative for the Salon de la Société des Artistes Français. He did so from 1890 till 1898, see seperate page. 1899/01/29 he died. He exhibited 5 à 8 works per year. He did so as ‘associé de la Société nationale des Beaux-Arts’ (see also R53,p141). All this time his adres is noted as: Moret or Moret-sur-Loing (Seine-et-Marne). Many works he showed are not identified. Many titles render an indication of location. And many titles render the time of day, season, month and/or weather conditions. So, typical titles belonging to an impressionist painting style.

1890:
See salon database (iR1).

SNBA-1890-819, La porte de Bourgogne à Moret; (Appartient à M. Mallet)
The CCPP only indicates that M. Mallet once owned no.37 (R396,p520). Sisley often depicted the Porte de Bourgogne at Moret, often including part of the bridge, which he rendered in a serie. See namely: CCPP 746 + 747 +748 +750.

SNBA-1890-820, A Moret, le soir; (Appartient à M. Montagnac)
The CCPP doesn’t render a M. Montagnac, but Isidore Montaignac once owned many works of Sisley (R396,p520). Some of these works depict Moret, but probably not an evening scene: CCPP549 +782 +790. CCPP depicting an evening scene would be the best option, were it not that Montaignac was just the third owner. Works made at Moret explicitly depicting an evening scene are namely: CCPP548 +744, but they were (probably) not owned by Montaignac. So, no.820 stays unidentified.

SNBA-1890-821, Au Mois de Mai; (Appartient à M. Clapisson)
The CCPP mentions 7 paintings once owned by Léon Clapisson, but none of these works explicitly render a painting made in May (R396,p516).

SNBA-1890-822, Au Printemps; (Appartient à M. Leclanché)
The CCPP mentions 3 paintings once owned by Maurice Leclanché (R396,p520). CCPP706 could be an option, since it was explicitly made in May, but it was first owned by Durand-Ruel, so this needs further investigation. Still, I will render it as an uncertain option: 1886, SDbl, CR632=CCPP706, A May morning in Moret-sur-Loing, 55×73, A2001/11/07 (iR2;iR14;iR1;R129,no632;R396,no706)
Several works of Sisley explicitly depict Spring, also in the title, for example: CCPP 697 +702 +709 +720 +796 +803 +805 +826, but these were (probably) not owned by Leclanché.

SNBA-1890-823, Le pont de Moret (Temps gris)
Sisley depicted the bridge of Moret-sur-Loing very often, also in a sort of serie. But, most were made after the Spring of 1890. CCPP896 explictly also has ’temps gris’ in the title, but was made in 1892.

SNBA-1890-824, Le Loing et le coteau de Saint-Nicaise
=1890, SDbl, CR731=CCPP832, Le Loing et les Coteaux de Saint-Nicaise, soleil de mars, 59×81, A2023/06/14 (iR155;iR10;iR2;R129,no731;R396,no832)

1891:

SNBA-1891-860, Le Loing en été.
Sisley often depicted the river Loing. But, I couldn’t find a work made before 1891, that clearly depicts a summer scene.
Though there is a work made that summer: 1891, SDbl, CR763=CCPP866, The Loing at Moret in Summer, 71×91, A2017/03/01 (iR11;iR14;iR2;R129,no763;R396,no866), but this was after the SNBA exposition.

SNBA-1891-861, Avenue de peupliers au soleil couchant; (Appartient à M. Bernheim jeune)
Sisley more often depicted a lane of poplars (along the river Loing), see CCPP 777 +779 +780 +837 +?838. CCPP 779 + 838 depict long shadows, so a low standing sun, but they were (probably) not owned by Bernheim-Jeune.

SNBA-1891-862, La Crue du Loing au pont de Moret (matinée de mars)
Eng.: The Loing flood at Moret bridge (March morning). I will render as an uncertain option: 1889ca, Sbl, CR701=CCPP782, Le pont de Moret, temps crue, 73×92, A2024/04/09 (iR11;iR10;R129,no701;R396,no782).

SNBA-1891-863, La passerelle.
=1890, SDbr, CR750=CCPP827, La Passerelle sur l’Orvanne, matinée de septembre, 53×63, A2006/11/28 (iR10;iR13;iR11;R129,no750;R396,no827)

SNBA-1891-864, Saules et peupliers; (Appartient à M. Bernheim jeune)
=1890, SDbr, CR742=CCPP833, Saules et peupliers au bord du Loing, le matin, 54×65, private (R396,no833). I couldn’t find a coloured picture.

SNBA-1891-865, A Moret en hiver (les moulins)
In the winter of 1890/91 Sisley depicted several times the watermills of Moret-sur-Loing. 3x the sub-title ‘effet de neige’ was added (CCPP 847 +848 +851) and 2x ‘effet d’hiver’ (CCPP850) or ‘en hiver’ (CCPP849). As an uncertain option I render the last one: 1890ca, Sbr, CR722=CCPP849, The (water)mills of Moret-sur-Loing, Winter, 55×74, A2004/05/04 (iR2;iR11;iR1;R38;R129,no722;R396,no849).

SNBA-1891-866, L’Orvanne.
The river Orvanne flows in the river Loing / the Loing canal in front of Moret-sur-Loing. See also no.863 where Sisley depicted the footbridge over the Orvanne. Sisley depicted the Orvanne about 8 times before 1891, namely CCPP 778 +823-829. As a very uncertain option I render: 1890, SDbr, CR748=CCPP824, Banks of the Orvanne, 54×65, A1999/06/28 (iR2;iR14;iR10;iR1;R129,no748;R396,no824).

1892:
Mirbeau commented that ‘his drawing has become sloppy. It seems that tiredness, weariness has set in.’ (R166,p275).

SNBA-1892-941, L’Abreuvoir.
=1891, SDbr, CR759=CCPP862, L’abreuvoir à Moret-sur-Loing, 73×92, private (R396,no862). I couldn’t find a coloured picture.

SNBA-1892-942, L’Orvanne et le Canal du Loing en hiver.
=1891, SDbl, CR786=CCPP882, The Orvanne and the Canal du Loing in Winter, 74×61, A2018/05/15 (iR2;iR14;R129,no786;R396,no882)

SNBA-1892-943, Meules de Paille (effet du matin).
=1891, SDbl, CR772=CCPP873, Haystacks at Moret, morning light, 73×92, NGV Melbourne (iR2;R129,no772;R396,no873;R38;M122)

SNBA-1892-944, Au bord du Loing (le matin, effet de printemps), pastel.
=the CCPPsuggests: 1891, SDbr, CR=CCPP879, Au bord du Loing, le matin, effect de printemps, 59×57, A1982/12/01 (R396,no879;iR14), but this is an oil painting, not a pastel. The CCPP doesn’t render a similar pastel.

SNBA-1892-945, Le Gros Peuplier (effet de soleil voilé).

SNBA-1892-946, Le Village

SNBA-1892-947, Le vieux Chemin de Grez au soleil couchant.
CCPP838 depicts the chemin de Grez. Looking at the long shadows it probably also depicts a setting sun. So, I render this one as uncertain option: 1890, SDbl, CR739 (Lane of poplers at Moret) =CCPP838, Le chemin de Grez, near the banks of the Loing, 60×73, A2012/11/07 (iR11;iR15;iR2;iR1;R129,no739;R396,no838).

1893:

SNBA-1893-973, Le Canal du Loing; été de la Saint-Martin.
Été de la Saint-Martin refers to a feast of Saint-Martin the 11th of November and can be translated as ‘Indian Summer’ (R166,no53;R396,no450).
As an uncertain option I render: 1888, SDbr, CR686=CCPP774, The washboat at Moret, Sunday afternoon, Indian Summer, 54×73, private (iR2;iR1;R129,no686;R396,no774).
I also mention: 1891, SDbl, CR785=CCPP877, Été de la Saint-Martin, Environs de Moret-sur-Long, 73×60, Marmottan (iR6;iR94;iR10;iR1;R129,no785;R396,no877;M2), but it is uncertain if the Canal du Loing is depicted.

SNBA-1893-974, Une après-midi du milieu de l’été.
=1892, SDbr, CR803=CCPP923, Une après-midi au milieu de l’été (An afternoon in mid-summer), 65×81, private (R396,no923;R129,no803) =LE-1904,164. Provenance: sale atelier Sisley GP1899/05/01-6; Dr. Viau; sale DR1907/03/04-70.

SNBA-1893-975, Le Soleil couché.
Sisley often depicted the setting sun.

SNBA-1893-976, Le Chantier à Matrat.
=1892, SDbl, CR814=CCPP906, Chantier de Matrat, Moret-sur-Loing, rainy weather, 60×73, Yale New Haven (iR2;R129,no814;R396,no906;M33)

SNBA-1893-977, Moret au soleil couchant; temps orageux.
Compare: 1887ca, Sbr, CR655=CCPP727, The Moret-sur-Loing bridge, effect of storm, 51×63, MuMa Le Havre (iR3;iR2;R38;R129,no655;R396,no727;M15), see series.

SNBA-1893-978, Soleil de printemps.
=1892, SDbr, CR794=CCPP913, Spring sunshine on the Loing, 60×74, A2004/11/03 (iR2;iR15;iR11;R129,no794;R396,no913)

1894:

SNBA-1894-1062, Une vieille église; l’après-midi.
=1893, SDbr, CR822=CCPP930, Moret-sur-Loing, une vieille église l’après-midi, 83×64, private (iR155;iR10;iR486;iR1;R38;R129,no822;R396,no930).

SNBA-1894-1063, Une vieille église; le matin au soleil.
=1894, SDbr, CR838=CCPP940, La vieille église de Moret-sur-Loing, le matin au soleil, 66×82, A2018/02/28 (iR11;iR14;iR1;R129,no838;R396,no940).

SNBA-1894-1064, Une vieille église; par la pluie.
=1894, SDbl, CR834=CCPP939, The old church of Moret-sur-Loing in the rain (transept side), 73×60, Birmingham MAG (iR155;iR2;iR1;R38;R129,no834=CCPP939;M182).

SNBA-1894-1065, Une vieille église; après la pluie.
=1894, SDbl, CR836=CCPP936, The Church at Moret-sur-Loing, after the rain, 73×60, Detroit IA (iR155;iR2;iR1;R129,no836;R396,no936;M151).

SNBA-1894-1066, Derniers jours d’automne.
I couldn’t find a painting with this specific title.

SNBA-1894-1067, Temps de pluie sur le Loing.
Sisley often depicted the river Loing, but I can’t find a painting in which Sisley also depicts rain.

SNBA-1894-1068, En été au bord de l’eau.
Compare: 1891, SDbl, CR763=CCPP866, The Loing at Moret in Summer, 71×91, A2017/03/01 (iR11;iR14;iR2;R129,no763;R396,no866)

SNBA-1894-1069, La porte de Bourgogne à Moret.
See SNBA-1890-819 with the same title.

1895:

SNBA-1895-1141, Une meule de paille (en octobre); Appartient à M. Tavernier
=1891, SDbr, CR771=CCPP872, Haystacks in Moret-sur-Loing in October, 65×92, MdCh Douai (iR2;R129,no771;R396,no872;M176)

SNBA-1895-1142, Les peupliers (fin d’automne).

SNBA-1895-1143, Moret (temps pluvieux).
As an uncertain option I render: 1888ca, Sbl, CR657=CCPP740, Moret-sur-Loing, temps de plui, 55×74, A2008/05/07 (iR11;iR14;iR2;iR1;R129,no657;R396,no740). Maybe CCPP741 is even a better option, considering it is dated, but I only could find a restricted picture (iR48).

SNBA-1895-1144, Le sentier du bord de l’eau à Sahurs (le soir).
=1894, CR823=CC947, Le chemin de halage (Le sentier du bord de l’eau) à Sahurs, le soir, Normandie (detail), 80×100, MBA Rouen (HW18;iR1;R396,no947;M12)

SNBA-1895-1145, Ferme normande (matinée de juin).
=1894, SDbl, CR830=CCPP946, La chaumière en Normandie, 50×61, HMA Atlanta (M150;iR10;R129,no830;R396,no946)

SNBA-1895-1146, Les coteaux de la Bouille et la prairie de Sahurs.
1894, SDbr, CR827=CCPP949, La prairie de Sahurs près de Rouen (In the distance the hills of La Bouille), 65×92, private (iR10;iR202;iR64;R66,p67;R129,no827;R396,no949). Maybe CCPP950 + 951 also are good options, because they show a similar scene. Both were in the collection of Depeaux, but unknown since when.

SNBA-1895-1147, Vieille ferme; Appartient à M. Depeaux.
=1894, SDbl, CR829=CCPP945, Abandoned cottage in Normandie, 65×81, private (iR2;iR1;R129,no829;R396,no945), which was owned by François Depeaux, but unknown since when. Compare no.1145.

SNBA-1895-1148, Les foins à Sahurs; Appartient à M. Depeaux.
As a very uncertain option I render: 1894, SDbr, CR825=CCPP950, A corner of the meadows at Sahurs in the morning sun (Normandy), 73×92, Metropolitan (iR2;R38;R129,no825;R396,no950;M23). Note: the hay is not so clearly depicted in this painting. It was in the François Depeaux collection, but unknown since when.

1896:

SNBA-1896-1149, Eglise de Moret (le soir).
=1894, SDbr, CR835=CCPP934, The church at Moret-sur-Loing, evening, 81×100, private (iR2;iR1;R129,no835;R396,no934).

SNBA-1896-1150, Eglise de Moret (temps de pluie); (Appartient à M. le Dr Viau)
=1893, SDbr, CCPP931, The Church at Moret-sur-Loing, rainy day, morning, 66×81, HAG Glasgow (iR155;iR10;iR173;iR2;R5,p189;R38;R396,no931;M186) Provenance: Viau.

SNBA-1896-1151, A Saint-Mammès (soleil de juin); (Appartient à M. Décap)
=1892, SDbr, CR798=CCPP925, June sun along the Loing (in the distance the viaduct of Saint-Mammès), 60×93, MNAC Barcelona (iR2;R38;R129,no798;R396,no925)

SNBA-1896-1152, Autour de la forêt (le matin).
=1889, SDbr, CR711=CCPP810, Autour de la forêt, matinée de juillet, 60×73, private (iR10;iR326;R129,no711;R396,no810). Note: 1892/06/08 bought by Durand-Ruel; this provenance isn’t noted in the SNBA-catalogue.

SNBA-1896-1153, Autour de la forêt; le vieux noyer.
=1895, SDbr, CR841=CCPP956, Fields around the Forest, the old walnut tree, 54×65, MNTB Madrid (iR2;iR11;R38;R129,no841;R396,no956;M100)

SNBA-1896-1154, Autour de la forêt; le vallon.
Eng.: Near the forest; the valley. Sisley explictly depicted sometimes a valley, namely: CCPP733 +958. I render the last one as an uncertain option: 1895, SDbr, CR842=CCPP958, Le Vallon (The valley), 54×65, MAH Neuchâtel (iR2;iR1;R38;R129,no842;R396,no958). Note: CR843=CCPP957 is called ‘Lisière de forêt’.

SNBA-1896-1155, A Moret (le soir); (Appartient à M. Depeaux)
1888, SDbl, CR683=CCPP759, Sunset at Moret-sur-Loing, 73×92, Cincinetti AM (iR2;R129,no683;R396,no759;M166) The provenance is a bit unclear. The CCPP indicates that it was bought by  Georges Petit at an unknown date, which isn’t affirmed by the Cincinetti Museum. The CCPP notes that Depeaux bought this work from Petit 1897/02, but this contradicts the fact that it was a loan of Depeaux in 1896, so it must have been owned by Depeaux at least in 1896; the Cincinetti museum doesn’t indicate since when it was in the collection of Depeaux. The CCPP indicates that it was bought back by Depeaux at the sale in 1906 and posthumously sold at the auction of 1921. The last is affirmed by the Cincinetti museum, but the museum mentions the possibility that between 1906 and 1921 it (also) was in the collection of Durand-Ruel.

1897:
Sisley didn’t exhibit (iR1).

1898:
In the catalogue the Société nationale des Beaux-Arts is shortened to SNBA.

SNBA-1898-1132, A Penarth.
Sisley depicted the cliffs of Penarth several times: CCPP 993-997 +1006-1009, many have a subtitle depicting atmospherical conditions, except CCPP994 +996 +997. I render CCPP996 as a very uncertain option: 1897, SDbr, CR- CCPP996, La falaise de Penarth (Langland Bay), 54×65, WRM Cologne (iR6;iR2;iR1;R38;R396,no996;M55)

SNBA-1898-1133, La rade de Cardiff.
=1897, SDbl, CR866=CCPP992, The bay of Cardiff, 54×65, MBA Reims (iR10;R5,p211;R38;R129,no866;R396,no992;M190)

SNBA-1898-1134, Lady’s Cove (avant l’orage).
1897, SDbl, CR871=CCPP1003, Langland Bay, Lady’s Cove before the storm, 65×81, FAM Tokyo (iR2;R38;R129,no871;R396,no1003)

SNBA-1898-1135, Lady’s Cove (la marée montante).
=1897, SDbl, CR873=CCPP1001, Marée montante à Langland Bay, Lady’s Cove, 65×81, A2024/12/03 (iR102;iR10;R129,no873;R396,no1001)

SNBA-1898-1136, La vague (baie de Langland).
1897, SDbl, CR877=CCPP1012, Storr rock sous les vagues, Langland Bay, 65×81, A2008/06/25 (iR2;iR15;R129,no877;R396,no1012)

 

1883, solo expo at Durand-Ruel:
June 1883 Durand-Ruel held a solo exposition with 60 works of Alfred Sisley.

The CCPP of Brame & Lorenceau doesn’t give suggestions on the works exhibited in 1883 (R396).
Faure send in 7 works, Duret 3, Dr. de Bellio 2, but not all these works were hung (R166,p140).
According to the 1883/05/26 + 28 + 29 daybook of Durand-Ruel the following works were send in (R166,p52,no46):

DR1883-solo-?, Feig’s (Tagg’s) Island, loan Faure; not exhibited.
DR1883-solo-?, Interior of a forge, loan Faure
=? 1875, SDbr, CR183=CCPP192, Forge at Marly-le-Roi, 55×73, Orsay (iR10;iR155;iR11;iR2;iR22;iR40;R129,no183;R396,no192;R166,p52,no46;M1); note in the 1897 expo it was a loan by M. F. (GP1897-96, La Forge, 1875, appartient à M. F.), so maybe this work earlier belonged to Faure and just after 1897 to Depeaux.
DR1883-solo-?, Terrace at Saint-Germain, loan Faure
=1875, SDbl, CR164=CCPP174, The Terrace at Saint-Germain-en-Laye, Spring, 74×99, WAM Baltimore (iR3;iR8;iR2;R129,no164;R396,no174;R166,p52,note46;M48), bought by Paul Durand-Ruel in 1880 and later sold to Faure.
*Moret, view of the river Loing, loan Faure
=1882ca, Sbl, CR462=CCPP498, Le chantier naval à Matrat, Moret-sur-Loing (Matrat’s boatyard), 38×55, MudO Beauvais (iR10;iR6;iR11;R129,no462;R396,no498;R166,p52,note46;M171)
*Hillsides at Bougival, loan Faure
*The Thames at Hampton Court, loan Faure
=1874, SDbr, CR122=CCPP158, The Thames at Hampton Court, first days of October, 66×92, MNBA Buenos Aires (iR10;iR487;iR94;R166,p52,note46+p138;R129,no122;R396,no158;M114)
*Morning sun at Saint-Mammès, loan Faure
*Road in shunshine, loan Duret; not exhibited.
*Rue de Sèvres, loan Duret; not exhibited.
Compare: CCPP119
*Louveciennes, loan Duret; not exhibited.
=? 1873, CR59=CCPP96, SDbr, (Le Couple) environs de Louveciennes, 38×56, private (iR10;iR114;iR13;R129,no59;R396,no96)
*The sawyer, loan Dr. de Bellio; not exhibited.
=1876, SDbr, CR230=CCPP227, Pit (Wood) sawyers, 50×66, MPP Paris (iR10;iR6;iR2;R2,p239;R90II,p83+102;R129,no230;R396,no227;M4); exhibited as 3IE-1877-214, Scieurs de long; Appartient à M. de Bellio.
*Path leading to Mont-Valérien, loan Dr. de Bellio; not exhibited.
=? 1880ca, Sbl, CR364=CCPP386, Upward path at Mont-Valérien, near Saint-Cloud, 50×65, A2003/11/05 (iR2;iR15;iR11;R129,no364;R396,no386). The first provenance indicated is Camentron (R396), but Daulte mentions this as the only painting depicting Mont-Valérien (R129,p346).

Which works were purchased before 1883/06 by Faure, Duret and Dr. de Bellio?
Faure: CCPP 1 +34 +?115 +?151 +?153 +?154 +??158 +?263 +?504 (R396,p518).
Duret: CCPP ?96 +?119 +?148 +?214 (R396,p517).
Dr. de Bellio: CCPP ?227 +?366 (R396,p515).
Note: of the works indicated with ‘?’ the date of provenance is not known.

In a letter (1883/05/26) Pissarro asked Dr. Gachet to send in his Canal Saint-Martin.
=1870, SDbr, CR16=CCPP17, Vue du canal Saint Martin, 50×65, Orsay (iR2;iR1;R166,p40+100;R129,no16;R396,no17;M1), earlier shown at the Salon: S1870-2651, Vue du canal Saint-Martin.

In August Georges Petit bought paintings that had been shown in June: The waterside street at Saint-Mammès, View of Moret, Hellhole farm, The Seine at Saint-Denis; Banks of the Seine, Waterside hut, August afternoon. (R166,p52,note50); note the CCPP doesn’t mention these transactions (R396,p521).
Which works could have been sold by Durand-Ruel to Georges Petit?
DR1883-solo-?, The waterside street at Saint-Mammès.
Compare: 7IE-1882-179, Saint-Mammès and: 7IE-1882-182, La vue du bord de l’eau à Saint-Mammès.
DR1883-solo-?, View of Moret.
Compare: 7IE-1882-184, Vue de Moret.
DR1883-solo-?, Hellhole farm.
=!? 1874, SDbr, CCPP129, CR-, La ferme du Trou d’Enfer, Marly-le-Roi, matinée d’automne, 46×61, HMA Atlanta (iR2;iR11;R396,no129;R166,p51,note40+p52,no50;M150)
DR1883-solo-?, The Seine at Saint-Denis.
=? 1872ca, Sbl, CR47=CCPP38, The Island of Saint-Denis, 51×65, Orsay (iR2;R129,no47;R396,no38;R166,p51,no7+10;M1)
=Durand-Ruel (inventory 1873, pl.13)
=? 7IE-1882-178, La Seine à St-Denis
=? 7SFA-1873-114, The Ile Saint-Denis.
DR1883-solo-?, Banks of the Seine.
Compare: Berlin-Gurlitt-PI-1883-?, Banks of the Seine.
DR1883-solo-?, Waterside hut.
=!? 7IE-1882-168, Cabane au bord de l’eau; compare CCPP961.
DR1883-solo-?, August afternoon.
Compare: 7IE-1882-163, Après-midi d’Août = CR436=CCPP462, sold by Durand-Ruel 1925/01/21 to Dr Elias.

 

Alfred Sisley at regional exhibitions:
Sisley sometimes exhibited at regional exhibitions; before 1874; between 1874 – 1886; after 1886 . Several works were loans by Durand Ruel. (iR1;R166,p263-281).

Lille-1866-1405, Femmes allant au bois; paysage.
=!? S1866-1785 =CCPP6.
Lille-1866-1406, Une rue de Marlotte; environs de Fontainebleau.
=!? S1866-1786 =CCPP5.

Reims-1873-?, Saint-Ouen, sent in by Durand Ruel = Boat at Moorings (R166,p36+263)
At the Société des Amis des Beaux-Arts, Le Cirque, boulevard des Promenades, Rheims (R166,p51,note8)
Saint-Ouen-sur-Seine lies just north of Paris (iR9).
Note: Daulte doesn’t render a painting of Sisley made in Saint-Ouen (R129,p347).
The only work acquired by Durand-Ruel before 1873/02/15 that clearly depicted moored boats is CCPP48. So I will render it as an uncertain option.

1877/01/08 – 03/08, 13th exposition annuelle: Sisley 2 (R166,p266).
Pau-1877-411, A road, near Marly, in summertime.
Additional info: on sale for 300francs.
Pau-1877-412, Snow.
Additional info: on sale for 300francs.

1878/01/15 – 03/15, 14th exposition annuelle at the Musée de Pau by the Société Béarnaise des Amis des Arts (iR1;R166,p266+296):
Pau-1878-318, Springtime in Marly.
Additional info: on sale for 350francs.
Pau-1878-319, The watering place, Marly, snow.
Additional info: on sale for 350francs.
Pau-1878-320, The Seine at Marly.
Sold for 300 francs

1879/02/03: Sisley exhibited 3 works 1879/02 at the Société des Amis des Arts de Pau, but sold nothing (R5,p112;iR1;R166,p296):
Pau-1879-264, The Seine at Bougival, Flood.
Additional info: on sale for 300francs. Note: most of the floodings Sisley depicted are located at Port-Marly, west of Bougival.
Pau-1879-265, The Seine at Marly-le-Roy (sic).
Additional info: on sale for 250francs. Note: Marly-le-Roy is not located along the Seine, so probably Port-Marly is meant.
Pau-1879-266, The Seine at Le Pecq, springtime.
Additional info: on sale for 250francs. Note: Le Pecq lies just north-west of Port-Marly (iR9). Daulte doesn’t indicate that Sisley made a painting here (R129,p346)

1882/10/01 – 11/01: in the Hôtel de Ville in Tours by the ‘Société des Amis des Arts de la Touraine’; send in by Durand-Ruel (iR1;R166,p39+296+51,note39):
Tours-1882-311, Banks of the Seine, loan by Durand-Ruel.
=?? CR41=CCPP47.
Tours-1882-312, Hellhole farm, loan by Durand-Ruel.
=London-EI-1882-4?, Hellhole farm.
=? 1874, SDbr, CCPP129, CR-, La ferme du Trou d’Enfer, Marly-le-Roi, matinée d’automne, 46×61, HMA Atlanta (iR2;iR11;R396,no129;R166,p51,note40+p52,no50;M150) Probably sold 1883/08/07 by Durand-Ruel to Georges Petit.

1884/05/31 – 07/15: the Société Lorraine des Amis des Arts organised an Exposition des Beaux-Arts in Nancy. Durand-Ruel lent pictures, including 1 by Sisley (R166,p42+270).

Nancy-1884-410, The Pond (Meuse*), loan by Durand-Ruel
= The iron bridge =?CR363=CCPP432 (R166,p42+270+52,note62). Note: the CCPP (R396) nor Christies (iR15) indicate a provenance by Durand-Ruel, nor that it was exhibited in Nancy. So, I will render it as a very uncertain option.
Note*: probably a writing error (R166,p270)

1891/04/04 – 05/04*: 2th exposition of the ‘Société de amis des arts‘ in the Préaubert gallery (paintings lent by Durand-Ruel); with Sisley (2x) (R166,p47+274+294+53,note96).
Note*: It is said to have been taken place in the Spring (R166,p274) and in November (R166,p294)
Nantes-1891-?, Weir on the Loing, loan by Durand-Ruel; priced 1000 francs.
Nantes-1891-?, Banks of the Loing at Moret, loan by Durand-Ruel; priced 1500 francs.
=8XX-1891-?, Banks of the Loing at Moret, loan by Durand-Ruel;
=1885, SDbr, CR595+CCPP642, Le barrage de Saint-Mammès, canal du Loing (R166,p47+53,note96+97). Also exhibited NY-DR1921-5. Note: Bought 1916/02/21 bought at the Catholina Lambert sale by Durand-Ruel; so much later; this makes the suggestion less reliable; anyway the title corresponds more the ‘Weir on the Long’. (R396,no642). I couldn’t find a suitable picture.
Sisley often depicted the weir in the Loing canal near Saint-Mammès in CCPP 594 (1888/12/10) +598 (DR) +600 +642 +650 +651 +652 +654 +662 (1891/04/24) +665 +714. CCPP 594 +598 +662 were once owned by Durand-Ruel. CCPP662 was bought shortly after the exposition, this would rule it out when the loan was owned by Durand-Ruel; but, it would be ruled in if Sisley had deposited the painting and Durand-Ruel bought it afterwards; but, he had stopped acquiring paintings directly from Sisley, so that again would rule it out. CCPP598 is indicated as first owned by Durand-Ruel (R396); but Sothebys renders Mrs. Jean-Baptiste Faure as first known owner (1917ca); 1919/02/01 bought by Durand-Ruel and Georges Petit; so that would rule this one out (iR14). I render both to compare. I couldn’t find a picture of CCPP594 which is the best option. I could find a related drawing that is now in the Louvre (M5a).

1907/03/02 – 04/02: “L’Exposition d’Art Français Contemporain au Chateau Des Rohan”. Exhibition of 585 works, including 2 of Sisley. Source/catalogue: Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Mar 7,  2021. http://exhibitions.univie.ac.at/exhibition/92 =R248=iR261/iR242; iR1.

Rouen-1907-233, Vallée de la Seine, lent by M. Bernheim.
Rouen-1907-234, Le chemin de By, loan by Durand-Ruel.
=? CCPP451 =? 7IE-1882-165, Le chemin de By (R2,p395)

 

Expositions Universelle:
Some works of Sisley were shown at some Expositions Universelle. Mostly the paintings were send in by Durand-Ruel or art-collectors.

Vienna, Exposition Universelle, 1873:
Durand-Ruel did send two paintings of Sisley to the Exposition Universelle in Vienna: (R166,p36)
*Vienna-EU-1873, The great avenue.
Compare: Boston-1883-?, The great avenue.
Caroline Durand-Ruel Godfroy suggests CR41=CCPP47 and calls it ‘The great avenue’, but it depicts more a sand path along the Seine. The CCPP doesn’t affirm her suggestion and titles the work ‘Bords de Seine à Bougival’. Still, she refers to an engraving in the catalogue ‘recueil d’estampes (R166,p51,note 9), but this isn’t in the recueil d’estampes of 1873 (iR19=R243).
A work that does come close comparing the title is: 1872ca, Sbl, CR269 (1877ca, Une rue à Sèvres) =CCPP23, La Grande Rue, Argenteuil, 65×46, CMAG Norwich (iR2;R129,no269;R396,no23)
*Vienna-EU-1873, Woman seated by the water.
Compare: 1878, SDbr, CR42 (1872) =CCPP319, Rest beside a stream (Edge of the wood), 74×81, Orsay (iR3;iR8;R53,p62;R38;R129,no42;R396,no319;R166,p36;M1) Provenance: Durand-Ruel till 1905/05/12. Note: Daulte dates this work 1872, the CCPP and Musée d’Orsay 1878. Gale states that Durand-Ruel bought it 1872/09/16 for 450fr (R53,p62). Compare also: compare: 2IE-1876-241, Le Bord d’un ruisseau, environs de Paris, appartient à M. Durand-Ruel.

1889, Paris:
Durand-Ruel did sent 55 paintings to the Exposition Universelle for the Pavillon de la Presse in Paris in 1889. They were returned 1889/11/14 to the gallery. 1889/06/19 he had received a receipt for the reception of 140 paintings. It included 4 paintings of Sisley, which were all not exhibited. (R166,p46+53,note90)

EU-1889-R1, A snow effect.
EU-1889-R2, Les Sablons.
EU-1889-R3, Saint-Mammès.
EU-1889-R4, Saint-Mammès.

1900, Paris:
1900/04/15 – 11/12: Exposition centennale de l’Art français de 1800 à 1890.
Posthumously 8 works of Alfred Sisley were shown at the centennial exhibition of the Exposition Universelle in 1900 at the Grand Palais des Champs-Élysées.
Including: CCPP 24 +38 +51 +61 +82 +98 +187 (R396).
All paintings were made between 1872 – 1875, so quite early.
See seperate page.

EU-C-1900-613, Île Saint-Denis, à M. Ernest May.
=1872ca, Sbl, CR47=CCPP38, The Island of Saint-Denis, 51×65, Orsay (iR2;R129,no47;R396,no38;M1) Provenance: Ernest May till 1923.

EU-C-1900-614, La Seine à Port-Marly, à M. George Viau.
=1875, SDbl, CR176=CCPP187, La Seine à Port-Marly, tas de sable, 55×74, Chicago AI (M20;iR6;iR2;R53,p94;R17,p103;iR3info;R129,no176;R396,no187;R88II,p452) Provenance: Dr. Viau till sale DR1907/03/04-74.

EU-C-1900-615, Le Canal, à Mme Rosenberg.
The CCPP mentions 3 paintings once owned by Mme Alexandre Rosenberg: CCPP125 +183 +239. None of them depict an canal. Works in the collection of Paul Rosenberg that depict a canal are: CCPP596 +?985. Sisley often depicted canals, namely Le canal du Loing. So, an identification is hard to make. Maybe, reviews or correspondance can render more light.

EU-C-1900-616, L’Allée, à M. Peytel.
=1873, SDbl, CR102=CCPP98, Chemin de la Machine, Louveciennes, 55×73, Orsay (iR2;iR4;R53,p74;R17,p171;R38;R166,p120;R129,no102;R396,no98;M1) Provenance: Peytel.

EU-C-1900-617, Gelée blanche, à M. Jules Strauss.
=1872, SDbl, CR53=CCPP61, Hoarfrost, 46×61, private (iR2;iR10;R129,no53;R396,no61). Provenance: Jules Strauss.

EU-C-1900-618, Un jardin à Louveciennes, à M. Georges Feydeau.
=1873, SDbl, CR95=CCPP82, Garden path, Chemin de l’Etarché, Louveciennes, 73×46, private (iR27;iR2;iR11;R1,p289;R166,p145). Provenance: Feydeau till sale HD1901/02/11-87.

EU-C-1900-619, L’Inondation, à Mme Racine.
=1872, SDbr, CR23=CCPP51, Flood at Port-Marly, Route de Saint-Germain, 50×65, A2019/11/12 (iR2;iR14;iR10;R38;R166,p51;r129,no23;R396,no51) Provenance: 1900 Mme Racine.

EU-C-1900-620, Canal Saint-Martin, à M. Moreau-Nélaton.
=1872, SDbr, CR35=CCPP24, Le Canal Saint-Martin, Paris, 38×47, Orsay (iR155;iR10;iR2;iR11;R3,p96;R38;R129,no35;R396,no24;M1) Provenance: Moreau-Nélaton.

Saint-Louis, 1904:
1904/05/01 – 12/01: in Saint-Louis at the Art Palace: Exposition Universelle.
Including: CCPP 155 (DRNY) (R396,p528;R166,p296).

Saint-Louis-EU-1904-519, Landscape (R166,p70)
Saint-Louis-EU-1904-520, Landscape (R166,p70)
Saint-Louis-EU-1904-521, Landscape = CCPP155, La Tamise avec Hampton Court (R166,p70;R396)

 

Alfred Sisley at Les XX in Brussels:
(At least) in 1890 + 1891 paintings of Sisley were exhibited at Les XX in Brussels.

1890, Les XX in Brussels:
1890/02 + 03: ‘7ème exposition des XX’ (=7XX-1890) (R166,p292).
Gale writes: ‘Falls out with Petit when paintings are not sent as promised ‘ (R53,p141)

1891, Les XX in Brussels:
Durand-Ruel send in 5 paintings of Sisley to the Salon des Vinghts in Brussels in 1891. The asking prices varied from 1.000 to 1.800fr. (R166,p47+53,note97+96). Note: the given suggestions are doubtfull, so I wan’t render them.

8XX-1891-?, Weir on the Loing. (R166,p47+53,note97+96)
8XX-1891-?, Banks of the Loing. (R166,p47+53,note97+96)
=1885, SDbr, CR595+CCPP642, Le barrage de Saint-Mammès, canal du Loing (R166,p47+53,note96+97). Also exhibited NY-DR1921-5. Note: Bought 1916/02/21 bought at the Catholina Lambert sale by Durand-Ruel; so much later; this makes the suggestion less reliable; anyway the title corresponds more the ‘Weir on the Long’. (R396,no642).
8XX-1891-?, The meadow bank. (R166,p47+53,note97+96)
=? 1879, SDbc, CR344=CCPP370, Bords de Seine, 29×52, A1993/11/29 (R166,p47+53,note97). The first owner indicated is Jacques Dubourg. Durand-Ruel is never indicated as owner. (R396,no370) The title neither corresponds much the picture, so I doubt if this is a good suggestion.
8XX-1891-?, Path to the pond. (R166,p47+53,note97+96)
=1881ca, Sbl, CR417=CCPP464, Chemin à Veneux-Nadon, 50×65, private (R166,p47+53,note97); note: bought by Durand-Ruel only in 1892/11/23 (R396,no464), so the suggestion is doubtfull.
=? London-DG-EtI-1884-?6, The path to the pond.
Compare: 7IE-1882-188, Le chemin de l’étang.
8XX-1891-?, The canal du Loing. (R166,p47+53,note97+96)

 

Alfred Sisley at La Libre Esthétique in Brussels:
(At least) in 1894 +1904 +1910 works of Sisley were exhibited at La Libre Esthétique in Brussels.

1894/02/17 – 03/15: Sisley joined the 1st Salon de La Libre Esthétique (R88II,p410).
I couldn’t find additional info.

1904/02/25 – 03/29: in Brussels at the Salon de La Libre Esthétique at an exhibition called “Peintres Impressionnistes” (=LE-PI-1904), at least 1 painting of Sisley was shown. See seperate page.
11LE-1904-164 = CCPP923 (R396)

In 1910 4 paintings of Sisley were posthumously shown (R237/iR261). See seperate page.
*17LE-1910-173, Les bords de la Seine en été.
*17LE-1910-174, La berge de la prairie de Veneux Nadon (1880).
Eng.: The edge of the meadow at Veneux-Nadon (1880). Compare: CCPP 401 +!403 +422 +465. Maybe also exhibited as 7IE-1882-183.
*17LE-1910-175, La Ligne de ceinture (appartient à M. J. de Hèle*).
*17LE-1910-176, Les Premières neiges à Chaville (appartient à M. J. de Hèle*).
=? 1878ca, Sbl, CR279=CCPP321, First snow at Veneux-Nadon, 49×65, NGA Washington (iR2;R129,no279;R396,no321;M21)
Note*: Charles (Jacques?) L. de Hèle owned in 1910 CCPP127 +CCPP321.

 

1882, London:
In the Summer of 1882 (in June and July*) there was an “Exposition impressionniste organisée par Durand-Ruel” (=London-EI-1882), see London 1882-84. It included 7 paintings of Sisley. (R166,p39+51,note40+268+293)

*London-EI-1882-1?, The path to Thomery, 1880
Sold 1882/07/31 for 1.250fr to M. Marchand (or Michaud). Note: the CCPP only renders Mme Émile Michaut (R396,p520)
Compare: 1880ca, Sbr, CR393=CCPP430, Le chemin de Veneux-Nadon à Thomery, le soir, 50×65, A1992/11/24. Provenance: Dr. Viau; sale DR1907/03/04-76.
*London-EI-1882-2?, The little meadows, 1881.
Compare: 7IE-1882-173, Les petits prés à By.
*London-EI-1882-3?, Saint-Mammès, 1881.
Compare: 7IE-1882-179, Saint-Mammès
*London-EI-1882-4?, Hellhole farm.
=Tours-1882-312, Hellhole farm
=? 1874, SDbr, CCPP129, CR-, La ferme du Trou d’Enfer, Marly-le-Roi, matinée d’automne, 46×61, HMA Atlanta (iR2;iR11;R396,no129;R166,p51,note40+p52,no50;M150) Probably sold 1883/08/07 by Durand-Ruel to Georges Petit.
Compare: 1874, SDbr, CCPP128, CR-, La ferme du Trou d’Enfer, Marly-le-Roi (A Normandy farm), 50×60, Manchester AG (M183); provenance: sold in 1927 by Charles A. Jackson (iR173).
*London-EI-1882-5?, Slopes at the edge of a wood.
*London-EI-1882-6?, Louveciennes.
Compare: DR1883-solo, Louveciennes, loan Duret, not exhibited (R166,p52,note46), see account.
*London-EI-1882-7?, Rue de Veneux.

1883, London, Dowdeswell & Dowdeswell:
1883/04/15 (20) – 07/20: a small exhibition at the gallery of Dowdeswell and Dowdeswell, New Bond Street 133 in London. It was called “Paintings, drawings and pastels by Members of La Société des impressionnistes”, see London 1882-84. It was co-organised by Durand-Ruel, who had sent 12 paintings over, but only 8 were exhibited. They were all landscapes from the surroundings of Saint-Mammès.
(R166,p269+p52,note57;R396,CCPP50+499)

London-DD-SdI-1883-4,
London-DD-SdI-1883-15,
London-DD-SdI-1883-19,
=1882ca, Sbl, CR455=CCPP499, Après-midi de mai à By, 55×73, A2002/05/07 (iR341;iR10;iR11;iR15;R129,no455;R396,no499); Provenance: 1882/05/10 Durand-Ruel.
London-DD-SdI-1883-21,
London-DD-SdI-1883-22,
London-DD-SdI-1883-33,
London-DD-SdI-1883-35,
London-DD-SdI-1883-45,
=CCPP50=1IE-1874-162=GP1899-68. Bought by Durand-Ruel 1873/01/21.

 

1883, Boston:
1883/09/01 – 12/01: Durand-Ruel did loan 3 paintings of Sisley to the “American International Exhibiton of Foreign Products, Arts and Manufactures”, see international exhibitions. (R166,p69+52,note55)

Boston-1883-166, Along the Seine (Waterside gate). (R166,p69+52,note55)
Boston-1883-167, The great avenue (Grand Promenade). (R166,p69+52,note55)
Compare: Vienna-EU-1873, The great avenue.
Boston-1883-168, Saint-Mammès: Autumn morning. (R166,p69+52,note55)

 

1883, Fritz Gurlitt Kunstsalon, Berlin:
From September or October till December 1883 there was again an exhibition at the Kunstsalon of Fritz Gurlitt in Berlin. It was called “Die Pariser Impressionisten“, see international “impressionist” exhibitions. Durand-Ruel sent in 3 paintings of Sisley. No works were sold. (R166,p42+52,note58;R116I,p362)

Berlin-Gurlitt-PI-1883-?, Moret mills.
Berlin-Gurlitt-PI-1883-?, The orchard.
Compare: NY-AAG-1886-221, A garden + Saint-Petersbourg-1912-602, Un verger: (Garden) (Durand-Ruel in Paris).
Berlin-Gurlitt-PI-1883-?, Banks of the Seine.
Compare: HD1875/03/24-65, Bord de la Seine (33×46) + NY-AAG-1886-232, On the banks of the Seine.

 

1883, Rotterdam:
In the course of 1883, Durand-Ruel sent a number of paintings to Joseph de Kuyper in Rotterdam, including 2 of Sisley, see international exhibitions. It is unsure if these pictures were exhibited. (R166,p55,note56)

Rotterdam-1883-?, The chestnut tree at Saint-Mammès. (R166,p55,note56)
Rotterdam-1883-?, Moret waterfront, evening. (R166,p55,note56)

 

1884, London, Dudley Gallery, tableaux impressionnistes:
In May and June (in the Spring) 1884 at the Egyptian Hall of the Dudley Gallery in Piccadilly there was an exhibition held that was called “Exposition de tableaux impressionnistes appartenant à Durand-Ruel”, see London 1882-84. Durand-Ruel did loan 12 paintings of Sisley. The asking prices were between 1000 and 1.500fr; none were sold. (R166,p42+270+p52,note61;R396,p528+CCPP499)

London-DG-EtI-1884-?1, Old houses at Saint-Mammès. (R166,p52,note61)
London-DG-EtI-1884-?2, Little Bridge over the Orvanne. (R166,p52,note61)
London-DG-EtI-1884-?3, Hoar frost. (R166,p52,note61)
London-DG-EtI-1884-?4, Hillside at the edge of a wood. (R166,p52,note61)
London-DG-EtI-1884-?5, Banks of the Seine. (R166,p52,note61)
Compare: Berlin-Gurlitt-PI-1883-?, Banks of the Seine.
London-DG-EtI-1884-?6, The path to the pond. (R166,p52,note61)
=? 8XX-1891-?, Path to the pond =? 1881ca, Sbl, CR417=CCPP464, Chemin à Veneux-Nadon, 50×65, private (R166,p47+53,note97).
Compare: 7IE-1882-188, Le chemin de l’étang.
London-DG-EtI-1884-?7, May afternoon. (R166,p52,note61)
=1882ca, Sbl, CR455=CCPP499, Après-midi de mai à By, 55×73, A2002/05/07 (iR341;iR10;iR11;iR15;R129,no455;R396,no499); Provenance: 1882/05/10 Durand-Ruel.
London-DG-EtI-1884-?8, Banks of the Seine at By. (R166,p52,note61)
London-DG-EtI-1884-?9, Towpath, Loing canal. (R166,p52,note61)
Compare: London-EI-1882-1?, The path to Thomery, 1880.
London-DG-EtI-1884-?10, Evening at Saint-Mammès. (R166,p52,note61)
London-DG-EtI-1884-?11, View of Moret. (R166,p52,note61)
Compare: 7IE-1882-184, Vue de Moret.
London-DG-EtI-1884-?12, The riverside at Saint-Mammès. (R166,p52,note61)

 

1886, New York:
Durand-Ruel did loan 14 or 15 paintings to the exhibition in New York called “Works in Oil and Pastel by the Impressionists of Paris“. In fact it were two exhibitions. From the 10th of  April 1886 there was an exhibition at the American Art Galleries (=AAG) and from the 25th of May till June at the National Academy of Design (=NAD). See New York 1886.

 

1887, NAD New York:
1887/05/25 – 06/30: in New York at the National Academy of Design (=NAD) called ‘Celebrated paintings by great French masters’. Durand-Ruel had send in 6 paintings of Sisley (R166,p46+294+52,note83).

New York-NAD-1887-203, Near Marly (R166,p69+52,note83).
New York-NAD-1887-204, The Seine at Chatou. (R166,p69+52,note83).
New York-NAD-1887-205, Landscape near Moret. (R166,p69+52,note83).
New York-NAD-1887-206, Winter sun(shine) at Veneux. (R166,p69+52,note83).
New York-NAD-1887-207, A farm(house) at Poissy. (R166,p69+52,note83).
Note: There are no paintings known that were made in Poissy (R129)
New York-NAD-1887-208, At Les Sablons. (R166,p69+52,note83).

 

1887/05/05, auction New York:
1887/05/05 + 06, there was an auction of the collection of Durand-Ruel at the Moore’s Art Galleries in New York (iR19). The 127 included just 6 paintings of Sisley. You will also find the prices for which they were sold. (iR19;R166,p46+52,no84)

New York-1887/05/05-32, Grapes and walnuts ($125) (iR19;R166,p52,no84).
New York-1887/05/05-33, Autumn at Marly-le-Roi ($150) (iR19;R166,p52,no84).
New York-1887/05/05-34, Winter at Marly-le-Roi ($140) (iR19;R166,p52,no84).
New York-1887/05/06-240, View of Louveciennes ($240) (iR19;R166,p52,no84).
New York-1887/05/06-270, Loing canal ($270) (iR19;R166,p52,no84).
New York-1887/05/06-150, Moret ($150) (iR19;R166,p52,no84).

 

1890, Exposition des Peintres-Graveurs:
1890/03/06 -20, Deuxième exposition des peintres-graveurs at the Durand-Ruel gallery in Paris.
It included 4 etchings and 3 paintings or drawings. (R396,p528;R166,p47+295+53,note93)

2EPG-1890-?, Moret bridge. (R166,p47+295+53,note93)
2EPG-1890-?, Moret. (R166,p47+295+53,note93)
2EPG-1890-?, Evening, sketch (R166,p47+295+53,note93).
2EPG-1890-264-1, The waggon. (R166,p47+295+53,note93)
2EPG-1890-264-2, Six moored boats. (R166,p47+295+53,note93)
2EPG-1890-264-3, Houses beside the water. (R166,p47+295+53,note93)
2EPG-1890-264-4, Beside the Loing; the riverbank, etch, BNF (R166,fig.40+p47+295+53,note93)

 

1891, Boston:
From 17 till 28 March there was an exhibition at the J. Eastman Chase’s Gallery held called “Paintings by the Impressionists of Paris: Claude Monet, Camille Pissarro, Alfred Sisley, from the galleries of Durand-Ruel, Paris and New York”. All works were lent by Durand-Ruel. 24 paintings were exhibited; 13 of Monet; 5 of Pissarro; 6 of Sisley; 3 of them were sold.
(R166,p47+69+53,note98)
Catalogue: ia800903.us.archive.org =iR19.

*Boston-IP-1891-4, Saint-Mammès, morning (sold). (R166,p53,note98)
=CR607=CCPP660 (=?NY-AAG-1886-229). This suggestion is not affirmed by the CCPP who doesn’t indicate when Durand-Ruel acquired this work (R396,no660).
*Boston-IP-1891-8, Bougival bridge (sold). (R166,p53,note98)
=CR86=CCPP69 (cpNY-AAG-1886-258); note: this work was acquired by Durand-Ruel 1907/04/27 from L. Higginson (R396,no69), so I render this option just to compare.
*Boston-IP-1891-13, The Loing canal (sold). (R166,p53,note98)
*Boston-IP-1891-17, Slopes of les Roches wood, Veneux (Coteaux du Bois des Roches à Veneuse; sic). (R166,p53,note98)
*Boston-IP-1891-21, Woman with parasol. (R166,p53,note98)
=? 1883, SDbr, CR485=CCPP527, La femme de l’artiste lisant dans son jardin, Moret-sur-Loing, 73×54, private (iR155;iR10;iR19;R129,no485;R396,no527) Provenance: 1883/09/06 Durand-Ruel
*Boston-IP-1891-24, Saint-Mammès. (R166,p53,note98)
Compare: 7IE-1882-179 +185.

1893, Saint-Louis:
1893/02: 10th  Annual Exhibition at the Saint Louis Exposition and Music Hall (r166,p69)

Saint-Louis-1893-229, The road to Venaux (sic) (R166,p69).

1893, Chicago:
1893/05 – 10: Loan exhibition of foreign works from private collections in the United States (R166,p69)

Chicago-1893-?, Village street, Moret, France, lent by Mr. Potter Palmer =CCPP 739 (R166,p69)

Martin-Camentron gallery, 1893:
1893/12 the Martin-Camentron gallery in Paris held an ‘Exposition d’Oeuvres de Degas, Monet, Cassatt, Morisot, Pissarro, Sisley, Manet, Renoir, Guillaumin’ (R166,p295).

New York, 1894:
1894/01: ‘Impressionist paintings” at the L. Crist Delmonico galleries in New York. Including 3 paintings of Sisley (R166,p69)

New York-1894-?, Le gros peuplier, 1891 (R166,p69)
New York-1894-?, Au bords du Loing, 1891 (R166,p69)
New York-1894-?, Early Spring, 1892 (R166,p69)

Saint-Louis, 1894:
1894/02: the 11th Annual Exhibition at the Saint-Louis Exposition and Music Hall. Including 2 paintings of Sisley (R166,p296).

Saint-Louis-1894-304, The edge of the woods (R166,p69)
Saint-Louis-1894-385, Saint Mammès, France (R166,p69)

Vienna, 1894:
1894/03: ‘International Exhibition of Art’in the Kunstlerhaus in Vienna (R166,p296).

San Francisco, 1894:
1894: ‘California Mid-Winter International Exhibition’. Including 1 painting of Sisley (R166,p69+296)

San Francisco-1894-513, The banks of the Marne (R166,p69).

1895, Ghent:
1895/09/01 – 10/28: 5 paintings of Sisley were exhibited at the Exposition des Beaux-Arts in Ghent, 3 were loans by Durand-Ruel  and two were send in by Sisley (R166,p49+53,note108).

Ghent-1895-?,
Ghent-1895-?,
Ghent-1895-?, View of Moret, loan by Durand-Ruel. (R166,p53,note108)
Ghent-1895-?, Autumn, bank of the Loing, loan by Durand-Ruel. (R166,p53,note108)
Ghent-1895-?, The dam at Suresnes, loan by Durand-Ruel. (R166,p53,note108)

Saint-Louis, 1895:
1895/09 + 10: in Saint-Louis at the Music Hall at the 12th Annual Exhibition, also called the Saint Louis exposition 1895 (R396,p528;R166,p296).

Saint-Louis-1895-501, View at Louveciennes, lent by M. Potter Palmer = CCPP 221 (loan DRNY) (R166,p69;R396)

Pittsburgh, 1895:
1895/11 + 12: ‘International Exhibition of Comtemporary Painting’ at the Carnegie Institute (R166,p296)

Pittsburgh-1895-218, Village on the shore of the Marne =!? CR422=CCPP480 (Vue de Saint-Mammès) (R166,p69;R396)
Pittsburgh-1895-219, Inundated meadow (R166,p69)

La Bodinière, 1895:
1895/11/13 – 12/13: ‘Exposition Murer’ at La Bodinière at 23, rue Saint-Lazare in Paris (R166,p295)
Or: in the catalogue appeared an advertisement referring to the ‘Exposition Murer’ in Rouen↓ (R166,p278).

Saint-Louis, 1896:
1896/02: the 13th Annual Exhibition at the Saint-Louis Exposition and Music Hall (R166,p296).

Saint-Louis-1896-482, The edge of the forest (R166,p69)

Rouen, 1896:
1896/05/16: Murer exhibited at his own ‘Hôtel du Dauphin et d’Espagne’ the collection he (and his half-sister) owned called ‘Exposition Murer’ or ‘magnificent collection of Impressionist painting’ at 4 + 6, place de la République. It included 4 paintings of Sisley. (R166,p278+296;R53,p142).

Pittsburgh, 1897/98:
1897/11/04 – 1898/01/01: ‘Second annual exhibition’ at the Carnegie Institute in Pittsburgh (R166,p296).

Pittsburgh-1897-203, Saint-Mammès (R166,p69)

London, 1898:
1898/05/16 – 06/? (Summer): in London at Skating Rink, Knightsbridge by the International Society of Sculptors, Painters and Gravers.

Durand-Ruel, 1898:
1898/06/01 -18: ‘Exposition d’oeuvres récentes de Camille Pissarro’ at the Durand-ruel gallery in Paris, including works of Monet, Puvis de Chavannes, Renoir and Sisley (R166,p295)

Georges Petit, 1898:
1898/08: ‘Exposition Estivale’ at the Georges Petit gallery in Paris (R166,295)

Pittsburgh, 1898:
1898/11/03 – 12/31: in Pittsburgh at the Carnegie Institute at the ‘Third Annual Exhibition’ (R396,p528;R166,p296).
Including: CCPP 480.

Pittsburgh-1898-218, Village on the shore of the Marne (R166,p69)
Pittsburgh-1898-219, Inundated meadow (R166,p69)

 

Posthumous exhibitions in Europe:

 

1905, London:
1905/o1 + 02: in London at the Grafton Galleries: Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley (=London-GG-1905), see seperate page. Catalogue: iR24.

London-GG-1905-282, =CR450=CCPP449, Boatyard of Matrat, a February morning near Moret-sur-Loing (R396)
London-GG-1905-283, =CR110=CCPP145, The Seine near Bougival, winter morning (R396)
London-GG-1905-285, =CR74=CCPP103, The Seine at Port-Marly (R396)
London-GG-1905-286, =CR113=CCPP147, SDbl, View of the Thames and Charing Cross Bridge (R396)
London-GG-1905-289, =CR55=CCPP59, Effet de neige à Bougival, route de Saint-Germain (R396)
London-GG-1905-290, =CR62=CCPP88, Apple trees in bloom, Spring morning (Pommiers en fleurs, Louveciennes) (R396)
London-GG-1905-292, =CR425=CCPP420, (Road along) the bank of the Seine at Saint-Mammès (R396)
London-GG-1905-293, =CR72=CCPP101, The Seine at Port-Marly (R396)
London-GG-1905-297, =CR512=CCPP566, Les coteaux de la Celle-sous-Moret, vus de Saint-Mammès (R396)
London-GG-1905-301, =CR213=CCPP224, At the foot of the Aqueduct at Louveciennes (R396)
London-GG-1905-305, =CR420=CCPP429, Banks of the Loing, Autumn Effect (R396)
London-GG-1905-307, =CR674=CCPP780, L’allée des peupliers à Moret-sur-loing, temps couvert le matin (R396)
London-GG-1905-309, =CR410=CCPP473, River banks at Veneux-Nadon (R396)

 

 

Posthumous exhibitions at the Durand-Ruel gallery in New York:
At the Durand-Ruel gallery in New York several (small) solo expositions were held with paintings of Sisley and also some small group exhibitions, namely with Monet, Pissarro and Renoir.

1899, New York:
1899/02/27 – 03/15, Works of Alfred Sisley. With at least 4 identified paintings.
Including: CCPP 155 +206 +221 +615 (R396,p528;R166,p294)

NY-DR1899-1, Les Sablons (R166,p69)
NY-DR1899-2, St. Mammès (R166,p69)
NY-DR1899-3, Petit pont près Moret (R166,p69)
NY-DR1899-4, Prairie Inondée (R166,p69)
NY-DR1899-5, Environs de St. Mammès (R166,p69)
NY-DR1899-6, Moret (R166,p69)
NY-DR1899-7, Vue de Louveciennes (R166,p69)
NY-DR1899-8, Raisins et Noix = CCPP206 (R166,p69;R396)
NY-DR1899-9, St. Mammès (R166,p69)
NY-DR1899-10, Près Moret (R166,p69)
NY-DR1899-11, Après-Midi d’août à Veneux (R166,p69)
NY-DR1899-12, La Seine à Moret (R166,p69)
NY-DR1899-13, Le Soir à St. Mammès (R166,p69)
NY-DR1899-14, Pont sur la Marne (R166,p69)
NY-DR1899-15, Le matin à St. Mammès (R166,p69)
NY-DR1899-16, Le moulin Provencher à Moret =CCPP528 (R166,p69)
NY-DR1899-17, Chemin à Veneux (R166,p69)
NY-DR1899-18, La Seine à Bougival (R166,p69)
NY-DR1899-19, Le Gué de L’Epine (R166,p69)
NY-DR1899-20, La Serpentine à Londres (R166,p69) =CCPP155 (R396)
NY-DR1899-21, Les bords de la Marne =!? CCPP481 (R166,p69)
NY-DR1899-22, Le matin près du Loing (R166,p69)
NY-DR1899-23, Matinée d’Octobre (R166,p69)
NY-DR1899-24, Vue de Louveciennes (R166,p69) =CCPP221 (R396)
NY-DR1899-25, Rue à Veneux (R166,p69)
NY-DR1899-26, La berge à St. Mammès (R166,p69)
NY-DR1899-27, St. Mammès le matin =CCPP415 (R166,p69)
NY-DR1899-28, Le Loing à Moret (R166,p69)

1905, New York:
1905/03/18 -04/08, Exhibition of paintings by Alfred Sisley. With at least 2 identified paintings.
Including: CCPP 155 +615. (R396,p528;R166,p294)

NY-DR1905-1, Vue de Louveciennes, 1873 (R166,p70)
NY-DR1905-2, Moret, 1885(R166,p70)
NY-DR1905-3, Prairie Inondée (R166,p70)
NY-DR1905-4, Les Sablons, 1885 (R166,p70)
NY-DR1905-5, Moulin Provencher à Moret (sic), 1880 =!? CCPP528 (R166,p70)
NY-DR1905-6, Rue à Veneux, 1880 (R166,p70)
NY-DR1905-7, La Serpentine à Londres, 1874 (R166,p70) =CCPP155 (R396)
NY-DR1905-8, Chemin à Veneux, 1878 (R166,p70)
NY-DR1905-9, La Seine à Bougival, 1875 (R166,p70)
NY-DR1905-10, Après-Midi d’août à Veneux, 1882 =!? CCPP503 (R166,p70)
NY-DR1905-11, La Seine à Moret, 1886  (R166,p70)
NY-DR1905-12, St. Mammès, 1885  (R166,p70)
NY-DR1905-13, St. Mammès, 1875 (sic)  (R166,p70)
NY-DR1905-14, Près Moret, 1882 (R166,p70)
NY-DR1905-15, Vieilles chaumières à Veneux, 1881 (R166,p70)
NY-DR1905-16, Marly-le-Roi, 1874 (R166,p70)
NY-DR1905-17, La Terrasse de St. Germain, 1875 =CCPP174 (R166,p70)

1912, New York:
1912/04/10 – 27, Exhibition of paintings by Alfred Sisley. With at least 5 identified paintings.
Including: CCPP 69 +155 +206 +221 +450 (R396,p529;R166,p294)

NY-DR1912-1, Pont sur la Marne 1872 (R166,p70)
NY-DR1912-2, Vue de Louveciennes 1873 (R166,p70)
NY-DR1912-3, Pont de Bougival =CCPP69 (R166,p70;R396) = CCPP69 (R396)
NY-DR1912-4, La Serpentine à Londres 1874 (R166,p70) =CCPP155 (R396)
NY-DR1912-5, Raisins et Noix 1876 = CCPP206 (R166,p70;R396)
NY-DR1912-6, Vue de Louveciennes, 1876 (R166,p70) =CCPP221 (R396)
NY-DR1912-7, La Seine près Bougival (sic) 1877 (R166,p70)
NY-DR1912-8, Prairie Inondée 1878 (R166,p70)
NY-DR1912-9, La berge à St. Mammès 1878 (R166,p70)
NY-DR1912-10, Près Moret (sic) 1880 (R166,p70)
NY-DR1912-11, Les carrières à Veneux 1880 (R166,p70)
NY-DR1912-12, Canal du Loing, chemin de halage 1882 (R166,p70)
NY-DR1912-13, St. Mammès 1883 (R166,p70)
NY-DR1912-14, Le Soir à St. Mammès 1883 (R166,p70)
NY-DR1912-15, La plaine de Veneux, vue des Sablons 1884 (R166,p70)
NY-DR1912-16, Sentier sur le haut des Roches-Courtaut 1884 (R166,p70) =CCPP450 (R396)
NY-DR1912-17, Paysage près Moret (sic) 1884 (R166,p70)
NY-DR1912-18, Le canal du Loing 1884 (R166,p70)
NY-DR1912-19, Bords du canal du Loing à St. Mammès 1885 (R166,p70)
NY-DR1912-20, Le matin à St. Mammès 1885 (R166,p70)
NY-DR1912-21, Les Sablons 1887 (R166,p70)

1913, New York:
1913/12/20 – 1914/01/08, Exhibition of 36 paintings representing Still lifes and flowers by Manet (4x), Monet (5x), Pissarro (1x), Renoir (8x), Sisley (1x), Albert André (9x) and Georges d’Espagnat (8x).
Including: CCPP 206. (R396,p529;R166,p294)
Catalogue: ia800906.us.archive.org =iR19.

NY-DR1913-19, Raisins et Noix, 1876, 38×55 (R166,p70) =CCPP206 (R396)

1914, New York:
1914/11/28 – 12/12, Paintings by Sisley. With at least 12 identified paintings.
Including: CCPP 221 +250  +361 +387 +474↑ +477 +525 +555 +591 +634 +699 +768 (R396)

NY-DR1914-1, Les Sablons, 1887 (R166,p70)
NY-DR1914-2, Le potager, 1872 =CCPP56 (R166,p70;R396)
NY-DR1914-3, La prairie (R166,p70)
NY-DR1914-4, Matin d’hiver (R166,p70) =CCPP474 (R396)
NY-DR1914-5, Les laveuses =!? CCPP250 (R166,p70;R396)
NY-DR1914-6, La plaine de Veneux, 1884 (R166,p70)
NY-DR1914-7, Prairie Inondée (R166,p70)
NY-DR1914-8, Petit pont près Moret, l’après-midi (sic) (R166,p70)
NY-DR1914-9, Vue de Louveciennes, 1876 (R166,p70) =CCPP221 (R396)
NY-DR1914-10, Confluent du Loing et de la Seine =!? CCPP634 (R166,p70;R396)
NY-DR1914-11, Le canal du Loing, 1884 (R166,p70)
NY-DR1914-12, Au long du bois, automne, 1885 (R166,p70)
NY-DR1914-13, Vue de Moret (R166,p70)
NY-DR1914-14, Saules au bord de l’Orvanne, 1883 =CCPP525 (R166,p70;R396)
NY-DR1914-15, Moret le matin, 1884 (R166,p70) =CCPP768 (R396)
NY-DR1914-16, Sentier sur les Roches-Courtaut, 1884 =!? CCPP553 (R166,p70)
NY-DR1914-17, Bords du canal du Loing à St. Mammès, le matin, 1885 = CCPP775 (R166,p70)
NY-DR1914-18, Canal du Loing, chemin de halage 1882 =CCPP494 (R166,p70;R396)
NY-DR1914-19, La plaine de St. Mammès (R166,p70) =CCPP477 (R396)

1917, New York:
1917/03/24 – 04/07, Exhibition paintings by Sisley (1840 – 1899); with 25 paintings, of which 21 are identified.
Catalogue: iR24; iR19.
Including: CCPP 56 +69 +202 +221 +360 +376 +391 +404 +424 +450 +474 +477 +518 +589 +637 +660 +668 +751 +768 +780 (R396)

NY-DR1917-1, La berge à Billancourt (iR19) =CCPP376 (R396)
NY-DR1917-2, Pont de Bougival (iR19) = CCPP69 (R396)
NY-DR1917-3, Pont sur la Marne (iR19)
NY-DR1917-4, St. Mammès (iR19) =CCPP768 (R396)
NY-DR1917-5, Moret le matin (iR19)
NY-DR1917-6, St. Mammès (iR19) =CCPP668 (R398)
NY-DR1917-7, L’hiver (iR19) =CCPP202, Route de l’Abreuvoir en hiver, Marly-le-Roi (R396)
NY-DR1917-8, L’été de la St. Martin (iR19)
NY-DR1917-9, Le potager (iR19) =CCPP56 (R396)
NY-DR1917-10, Matin d’hiver (iR19) =CCPP474 (R396)
NY-DR1917-11, La berge à St. Mammès (iR19)
NY-DR1917-12, Une avenue de peupliers, Moret (iR19) =CCPP780 (R396)
NY-DR1917-13, Bougival (iR19)
NY-DR1917-14, Matin près du Loing (iR19) =CCPP360 (R396)
NY-DR1917-15, La confluent de la Seine et du Loing (iR19) =CCPP637 (R396)
NY-DR1917-16, Le Loing à Moret, temps gris (iR19)
NY-DR1917-17, St. Mammès le matin (iR19) =CCPP660 (R396)
NY-DR1917-18, Les dernières feuilles (iR19) =CCPP518 (R396)
NY-DR1917-19, Le viaduc d’Auteuil (iR19)
NY-DR1917-20, Campagne à Veneux (iR19) =CCPP404 (R396)
NY-DR1917-21, La prairie (iR19)
(HW sic?) =CCPP391 (R396) =London-1892-103; DR1910-72; DR1914-59; NY-DR1921-solo-8.
NY-DR1917-22, Vue de Louveciennes (iR19) =CCPP221 (R396) =3IE-1877-211 =Saint-Louis-1895-501; NY-DR1899-24; NY-DR1912-6; NY-DR1914-9; NY-DR1921-solo-13; NY-DR19125-13; NY-DR1927-9.
NY-DR1917-23, Village de Champagne (iR19)
NY-DR1917-24, La plaine de St. Mammès (iR19) =CCPP450 (R396) =CCPP477 (R396)
NY-DR1917-25, Environs de St. Mammès (iR19) =CCPP424 (R396)

1920, New York:
1920/04/08 – 20, Paintings by modern French masters.
Including: CCPP 388 +740.

NY-DR1920-19, =CCPP740 (R396)
NY-DR1920-20, =CCPP388 (R396)

1921, New York:
1921/01/08 -22, Exhibition paintings by Alfred Sisley (1840 – 1899). With 22 paintings, of which 17 are identified.
Catalogue: iR19//ia601708;  iR24.
Including: CCPP 35 +56 +189 +221 +360↑ +376 +391 +396 +416 +450 +474 +504 +518 +576 +666 +668 +780 (R396,p529;R166,p294)

NY-DR1921-solo-1, Village de Champagne au coucher de soleil (iR19)
NY-DR1921-solo-2, Une avenue de peupliers, Moret (iR19) =CCPP780 (R396)
NY-DR1921-solo-3, Le potager (iR19) =CCPP56 (R396)
NY-DR1921-solo-4, St. Mammès (iR19) =CCPP576 (R396)
NY-DR1921-solo-5, Le barrage de St. Mammès (iR19)
NY-DR1921-solo-6, Chemin du vieux Bac à By (iR19) =CCPP396 (R396)
NY-DR1921-solo-7, Chemin de By au bois des Buches Courteau (iR19) =CCPP450 (R396)
NY-DR1921-solo-8, Lever de soleil (iR19) =CCPP416
(HW sic) =CCPP391 (R396) =London-1892-103; DR1910-72; DR1914-59; NY-DR1917-21.
NY-DR1921-solo-9, Environs de Londres, Hampton Court (iR19)
NY-DR1921-solo-10, Paysage, lière de bois (iR19)
NY-DR1921-solo-11, Matin, près du Loing (iR19) =CCPP360 (R396)
NY-DR1921-solo-12, La berge à Billancourt (iR19) =CCPP376 (R396)
NY-DR1921-solo-13, Vue de Louveciennes (iR19) =CCPP221 (R396)
NY-DR1921-solo-14, Pont sur la Marne (iR19) =CCPP35 (R396)
NY-DR1921-solo-15, Les dernières feuilles (iR19) =CCPP518 (R396)
NY-DR1921-solo-16, Sur la Seine (iR19)
NY-DR1921-solo-17, Noyers, plaine de Veneux Nadon (iR19) =CCPP504 (R396)
NY-DR1921-solo-18, St. Mammès (iR19) =CCPP668 (R398)
NY-DR1921-solo-19, Matin d’hiver (iR19) =CCPP474 (R396)
NY-DR1921-solo-20, Le quai à Sable (iR19) =CCPP189 (environs de Port-Marly (R396)
NY-DR1921-solo-21, St. Mammès côte du canal (iR19) =CCPP666 (R396)
NY-DR1921-solo-22, Paysage, environs de Louveciennes (iR19)

1921, New York:
1921/03/07 – 26, Paintings by modern French masters.

NY-DR1921-13,=CCPP424 (R396)

1925, New York:
1925/02/18 + 03/31, Exhibition of paintings by Camille Pissarro and Alfred Sisley. (R396,p529;R166,p294)
Catalogue: iR24.
Including: CCPP 221 +289 +388 +518 +666.

NY-DR1925-11, =CCPP666 (R396)
NY-DR1925-12, =CCPP518 (R396)
NY-DR1925-13, =CCPP221 (R396)
NY-DR1925-15, =CCPP668 (R398)
NY-DR1925-17, =CCPP388, Le Loing à Moret, temps gris (R396)

1927, New York:
1927/04/19 – 05/03, Exhibition paintings by Sisley (1840 – 1899). With at least 20 identified paintings.
Catalogue: iR24.
Including: CCPP 56 +155 +169 +211 +221 +250 +289 +356 +388 +394 +396 +416 +417 +424 +466 +503 +528 +591 +780 +839. (R396,p529;R166,p294)

NY-DR1927-1, =CCPP56 (R396)
NY-DR1927-2, =CCPP35 (R396)
NY-DR1927-3,
NY-DR1927-4,
NY-DR1927-5,
NY-DR1927-6,
NY-DR1927-7,
NY-DR1927-8,
NY-DR1927-9, =CCPP221 (R396)
NY-DR1927-10,
NY-DR1927-11,
NY-DR1927-12, =CCPP424 (R396)
NY-DR1927-13,
NY-DR1927-14,
NY-DR1927-15,
NY-DR1927-16,
NY-DR1927-17,
NY-DR1927-18,
NY-DR1927-19,
NY-DR1927-20, =CCPP396 (R396)
NY-DR1927-21,
NY-DR1927-22,
NY-DR1927-23,
NY-DR1927-24,
NY-DR1927-25,
NY-DR1927-26,
NY-DR1927-27, =CCPP780 (R396)

 

 

 

 

Posthumous exhibitions in the USA:
Posthumously several paintings of Sisley were exhibited in the USA. Mostly they were loans by the Durand-Ruel gallery in New York. I will render them chronologically.

1900, Pittsburgh:
1900/11 + 12: ‘Fifth Annual Exhibition’ at the Carnegie Institute in Pittsburgh  (R166,p69+296)

Pittsburgh-1900-225, Morning near the Loing (R166,p69)
Pittsburgh-1900-226, Near Moret (R166,p69)

1901, Chicago:
1901/01/08 – 27: in Chicago at the Art Institute called ‘Loan collection of selected works of modern masters’ (R166,p70+292)

Chicago-1901-5, Le gué de l’épine, lent by D.R. of New York (R166,p70)
Chicago-1901-26, Les bords de la Marne, lent by D.R. of New York =CR426=CCPP481 (R166,p70)

1907, Pittsburgh:
1907/11 + 12: ‘Twelfth Annual Exhibition’ at the Carnegie Institute in Pittsburgh, see account (R166,p70+296)

Pittsburgh-1907-?, The terrace at Saint Germain-en-Laye = CCPP174 (R166,p70)

 

1907, Buffalo:
1907/10/31 – 12/08: “Exhibition of paintings by the French Impressionists” in Buffalo in the Albright Art Gallery by the Buffalo Fine Arts Academy; the works were lent by Durand-Ruel. (R166,p70+292;R396,p529) Including: CCPP 206 (DRNY) +481 (DRNY).

Buffalo-1907-76, Grapes and nuts (R166,p70) =CCPP206 (R396)
Buffalo-1907-77, The Seine at Moret (R166,p70)
Buffalo-1907-78, Banks of the Marne (R166,p70) =CCPP481 (R396)
Buffalo-1907-79, St. Mammès (R166,p70)
Buffalo-1907-80, View of Louveciennes, 1876 (R166,p70)
Buffalo-1907-81, Borders of the Loing Canal at St. Mammès, morning, 1885 (R166,p70)

1908, Columbia:
1908/02: in Columbia at the Museum of Classical Archeology of the University of Missouri, called ‘Second annual exhibition of paintings, Art Lover’s guild of Columbia; the museum of classical archaeology of the University of Missouri. (R166,p70+292)

Columbia-1908-25, The Seine at Moret (R166,p70)

1908, Boston:
1908/03/10 – 30: in Boston at Walter Kimball & Co.: Paintings by Alfred Sisley from the Durand-Ruel collection.
Including: CCPP 155 (DRNY). (R396,p529;R166,p70+293)

Boston-1908-1, La Seine près Bougival (R166,p70)
Boston-1908-2, Sur la route de Moret (R166,p70)
Boston-1908-3, La Serpentine à Londres, 1874 (R166,p70) =CCPP155 (R396)
Boston-1908-4, La Terrasse à St. Germain, 1875 =CCPP174 (R166,p70)
Boston-1908-5, Moulin Provencher à Moret, 1880 =!? CCPP528 (R166,p70)
Boston-1908-6, Prairie Inondée, 1875 (R166,p70)
Boston-1908-7, La prairie (R166,p70)
Boston-1908-8, Chemin à Veneux, 1878 (R166,p70)
Boston-1908-9, Vieilles chaumières à Veneux, 1881 =!? CCPP491 (R166,p70)
Boston-1908-10, Près Moret, 1882 (R166,p70)
Boston-1908-11, Vue de Louveciennes, 1873 (R166,p70)
Boston-1908-12, Pont sur Marne (R166,p70)
Boston-1908-13, Le matin à St. Mammès, 1885 =!? CCPP622 (R166,p70)
Boston-1908-14, Le soir, Saint-Mammès, 1883 (R166,p70)

1910, Pittsburgh:
1910/11 + 12: ‘Fifteenth Annual Exhibition’ at the Carnegie Institute in Pittsburgh (R166,p70+296)

Pittsburgh-1910-275, Flood at Moret (R166,p70)

1911, Washington:
1911/02/11 – 03/05: in Washington D.C. at the Corcoran gallery: The masters of the Modern French school (R396,p529).
Including: CCPP 396 (DRNY).

Washington-1911-44, =CCPP396 (R396)

 

1913, Boston:
1913/01/20 – 31: in Boston at the Saint Botolph Club: ‘Impressionist paintings lent by Messrs. Durand-Ruel (and Sons)’.
Including: CCPP ? +524 (DRNY), see account. (R396,p529;R166,p70+293)

Boston-1913-7, Vieilles chaumières à Veneux (R166,p70)
Boston-1913-9, Rue à Veneux (R166,p70) =CCPP524 (R396)
Boston-1913-15, Prairie inondée (R166,p70)

1913, Boston:
1913/04/28 – 05/18: in Boston at the Copley Hall; traveling exposition ‘International exhibition of modern art, Association of American Painters and Sculptors’; 69th Infantry Regiment and Armory (the Armory Show) (R166,p70).
Also in New York and at the Art Institute of Chicago (R396,no396)

Boston-AS-1913-506, Vieilles chaumières à Veneux, 1881 (R166,p70)
Boston-AS-1913-507, Chemin du vieux Bac à By, 1880 (R166,p70) =CCPP396 (R396)
Boston-AS-1913-508, Prairie inondée, 1874 (R166,p70)

 

 

Alfred Sisley at Centennial exhibitions:
Works of Sisley were (posthumously) exhibited at centennial exhibitons.

1912/01/28, in Saint-Petersbourg (iR261;iR40;R396):

*Saint-Petersbourg-1912-600, L᾿automne, bords du Loing (Autumn).
*Saint-Petersbourg-1912-601, Le matin en Juillet (Morning in July).
=? 1889, SDbr, CR711=CCPP810, Autour de la forêt, matinée de juillet, 60×73, private (iR10;iR326;R129,no711;R396,no810) Provenance: Camentron; 1892/06/08 Durand-Ruel.
*Saint-Petersbourg-1912-602, Un verger: (Garden) (Durand-Ruel in Paris)
Compare: Berlin-Gurlitt-PI-1883-?, The orchard + NY-AAG-1886-221, A garden.
*Saint-Petersbourg-1912-603, Paysage d᾿hiver (Winter Landscape).
*Saint-Petersbourg-1912-604, Paysage (Landscape) (loan Jacques Doucet in Paris)
=? 1874, SDbl, CR108=CCPP141, Paysage d’hiver, Louveciennes, 54×65, MA Avignon (iR6;iR10;R129,no108;R396,no141); note this is the only work known to have been in the Jacques Doucet collection (R396,p517).
*Saint-Petersbourg-1912-605, Paysage (Landscape).
*Saint-Petersbourg-1912-606, Champ de blé (Rye Field) (Barbazanges in Paris)
=? 1873, SDbr, CR92=CCPP110, Les chasseurs, lisière de la fôret de Marly, automne, 46×65, private (iR10;iR94;R129,no92;R396,no110+p515;R88II,p451); the painting once in the Barbazanges collection, that comes most close to this title. Compare also: CR79=CCPP63.

1914/05/15 – 06/30, in Copenhagen (iR40;R396):

Copenhagen-1914-126 =CCPP98 (loan of the Louvre =M5).
Copenhagen-1914-177 =CCPP50*.
Copenhagen-1914-199 = CCPP89*.
Copenhagen-1914-200 =CCPP66*.
Copenhagen-1914-201 =CCPP418 (loan Durand-Ruel or d’Alayer; R396).

Note*: Part of the collection of the (future) Ny Carlsberg Glyptotek Copenhagen (=M90) (R396).

 

 

Recommanded citation: “Impressionism: Alfred Sisley, an account of his exhibited works. Last modified 2025/05/04.  https://www.impressionism.nl/sisley-account/.”