Sisley account

under construction
Alfred Sisley (1839-1899)

Account expositions

 

Introduction:

Here you will find an account of which paintings Sisley has exhibited at the ‘Impressionist’ Expositions in 1874,  1876, 1877 and 1882 and of the works he submitted to the Salon.
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 follows the Catalogue Raisonné (=CR) of Daulte (=R129). 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 and the contemporary titles of the paintings. These suggestions of mine are very uncertain or just a suggestion to compare. But still I hope also these suggestions give an impression of what Sisley could have exhibited at these expositions.
For the pictures I made use of the marvelous databases of pictures of the-athenaeum.org (=iR2). Additional pictures I took from Wikipedia (=iR3-5) wikiart.org (iR7); the webgallery of impressionism.co.uk (=iR22). 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.

 

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
  • In my choices I’m inspired by Dayez (1974=R87,p254), Moffett (R2,p123) and Berson (R90II,p13+28/9).
THE CATALOGUE NUMBERS:

1IE-1874-161        Route de Saint-Germain; appartient à  M. Durand-Ruel
Eng. = the road to… Moffett (R2,p123) suggests with a perhaps CR43, Dayez and Berson also makes this suggestion, now: 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). Castagnare (1874/04/29) calls this work ‘a truly poetic landscape’ (R87,p265;R90I,p16). Saint-Germain lies about 2km north of Marly-le-Roy, see.

1IE-1874-162        Île de la Loge ; appartient à  M. Durand-Ruel
Moffett (R2,p123), Dayez and Berson suggest: 1872, CR21, Ferry to the Ile-de-la-Loge, Flood, 46×61, NCG Copenhagen (iR2;iR59). 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). 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). Stevens mentions this work was bought by Durand-Ruel in 1873, who also exhibited in London in 1883 (no.45) as one of 8 works by Sisley (R166,p114).

1IE-1874-163        La Seine à Port Marly
Moffett (R2,p123+109) suggests with a perhaps CR67, Berson follows, now: 1873, La Machine de Marly, 45×65, NCG Copenhagen. The title in the catalogue doesn’t refer to the Machine de Marly, what is to be expected like in 1877-219. The emphasize is on the Seine. Gale (R53) doesn’t confirm the choice of Moffett, Distel does (R166). Dayez suggests a later work: 1875, CR176, La Seine à Port-Marly, tas de sable , 55×74, IA Chicago (see info), but this is not confirmed by the Art Institute of Chicago (iR74). Chesnau (1874/05/07) comments that this picture is the ‘absolute realisation of the ambitions of the school’. Further more he writes: ‘I don’t know a painting nor from the past nor in the present that renders a way so complete, so perfect the physical sensation of the atmosphere of the ‘plein-air’ (R87,p270;R90I,p19). But none of the art-critics describe the painting. Sisley made several paintings from the Seine near Bougival (see CR39, 46, 73, 87, 88, 89, 90, 93, 111). Just one bares the title the Seine at Port-Marly, that work I like to suggest: 1873, CR72, The Seine at Port-Marly, 50×65, private (iR10;iR94;R116II,p189;R166,p48), a work bought by Durand-Ruel in 1874 (R166,p48). 

1IE-1874-164        Verger
Eng. = Orchard. Moffett suggests CR82, now in a private collection in Paris. Dayez and Berson render the same work made in 1873, 50×73, and part of the Durand-Ruel collection in 1874 (R87,p254). I couldn’t find a colour reproduction of the work Dayez and Berson. Leroy (1874/04/25) writes: ‘I recommend you the small tree on the right; he’s gay’ (R87,p260;R90I,p25). Sisley painted many orchards (CR61-65+82). CR62 renders this ‘small tree’ most clearly, so I render as alternative: CR62, 1873, Apple Trees in Flower, Spring Morning (Pommiers en Fleurs, Louveciennes), 50×73, A2013/05/08 (iR2;iR11). Emile Cardon (1874/04/29) recommends this work (R90I,p13).

1IE-1874-165        Port-Marly, soirée d’hiver
Eng.= Winter evening
Moffett (R2,p123) doesn’t give a suggestion, nor does Dayez and Berson. Silvestre (1874/04/22) describes ‘Port Marly’ as: ‘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; Note: Berson refers with a ‘?’ to no.163, but this description doesn’t fit the more greyish painting, that is CR72; it could more her suggested CR67.)  I could only find 2 scenes of the Seine in winter: 1872, CR45, The Seine at Bougival in Winter (Port-Marly, gelée blanche), 47×66, PBA Lille (iR2;iR4;iR94) and: 1874, CR110, 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
Moffett (R2,p123+142) suggests a work shown outside the catalogue which is now: 1873, CR94, Autumn – Banks of the Seine near Bougival, 46×61, MBA Montreal (iR2;iR11;R17,p173). 
Richard Brettell doesn’t confirm this suggestion (R17,p173). Prouvaire (1874/04/20) describes 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) describes: ‘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).

 

The second ‘impressionist’ exposition 1876:

Overview:
  • catalogue numbers: 237-244
  • Sisley probably exhibited 2 works outside the catalogue (=hc)
  • 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 were loans
      • 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).
THE CATALOGUE NUMBERS:

2IE-1876-237        Effet de neige ; Appartient à M. Martin
Eng. (=effect of snow). Moffett (R2,p165) doesn’t give a suggestion, nor does Berson. Sisley made many snow landscapes, so I just give a very uncertain suggestion: 1874, CR147, Snow effect at Argenteuil, 54×65, private. Argenteuil lies east of Marly-le-Roy. Compare also 3IE-1877-224. 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).

2IE-1876-238        Avenue de l’Abreuvoir, effet de givre ; Appartient à Mme Latouche
Eng. = Avenue of the watering-place, effect of (hoar-)frost. Moffett (R2,p165) doesn’t give a suggestion, Berson omits this work. I give as an uncertain suggestion: 1876, CR244,  The Watering Place at Marly, Hoarfrost, 38×55, Richmond VMFA (iR2;iR6info;R166,p172). Note: Mme Latouche is probably the wife of Louis Latouche. For the location on Google-maps see, for a street view of the Abreuvoir see.

2IE-1876-239        Une route aux environs de Marly ; Appartient à M. Martin
Eng. = A road in the surroundings of Marly. Moffett (R2,p165) doesn’t give a suggestion, nor does Berson. There are many options. I give as an uncertain suggestion: 1875, CR175, La route de Marly-le-Roi, 59×73, A20090204 (iR10;iR15;iR11;iR2;R166,p145).

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, The Watering Place at Marly-le-Roi, 50×66, NG London. 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. Moffett (R2,p165) doesn’t give a suggestion, nor does Berson.
I give as an uncertain suggestion: 1872, CR42, (1878) Rest beside the Stream, Edge of the Wood, 74×81, Orsay (iR3; iR8;R53,p62;R38) Bought by Durand-Ruel in 1872. E.F. (1876/04/21) reviews in ‘Moniteur des arts’: ‘it is a nice symphony in grey minor’ (R90I,p83)

2IE-1876-242        Le chemin des aqueducs ; Appartient à M. Durand
Eng. = The road of the aqueduct. Moffett and Berson give two suggestions: CR133, 1874, L’Aqueduc de Marly , 54×81, MA Toledo; and 1876, CR213, At the Foot of the Aqueduct at Louveciennes, 46×55, Winterthur, (iR2;iR6;R166,p38+128;R116II,p175). I think this last 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 picture was soled to Durend-Ruel for 400 francs. 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.

2IE-1876-243        Route de Saint-Germain; Appartient à M. Martin
Moffett nor Berson give a suggestion. 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). Compare : 1IE-1874-161 which has the same title, then owned by the art-dealer Durand-Ruel. As an uncertain suggestion I render: 1875, CR188, Road from Versailles to Saint-Germain, 51×65, PGM Los Angeles, (iR2; iR11;R38). 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.

2IE-1876-244        Inondations à Port-Marly ; Appartient à M. Legrand
Eng. = floods. Moffett (R2,p165+151) suggests CR240: 1876, Flood at Port-Marly, 60×81, Orsay. I follow, marking that 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). 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)

2IE-1876-244+hc1        Inondations à Port-Marly
Silvestre (1876/04/02) reviews: ‘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, 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. 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). 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 an uncertain option I render: 1876, CR237, (The boat during) the Flood at Port-Marly , 50x61or60x80, MBA Rouen (HW18;iR27;iR11;iR2;R38).

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. The only work I know that was made in that region east of Paris is: 1875, CR189, 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, CR89, CR90, CR135 and 1875, CR-, (Farm along) the Seine at Port-Marly, 55×65, A20161116 (iR11;R17,p105;R38;R166,p154). I render as an impression: 1873, CR66, Grand Jatte, 51×65, Orsay (iR2;R53,p64); and: 1874, CR135, Le petit Bougival, 28×41, A2016/02/04 (iR11; iR2).   

 

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).
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, CR208, View of Marly-le-Roi from House at Coeur-Volant, 65×92, Metropolitan. But the hoar-frost is not visible on this painting.

3IE-1877-212        Le Parc ; Appartient à M. H…
Moffett (R2,p206) suggests with a perhaps CR211 now in Geneva. 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); this does not correspond CR211. 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). As an uncertain suggestion I give the only painting with ducks I know: 1875, 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.  

3IE-1877-213        Route, le soir ; Appartient à M. H…
Moffett (R2,p206) suggests with a perhaps CR219 referring to Brettell (=R17), but I can’t find this reference, nor can I find CR219. Berson calls this work unidentified, but suggests it was part of the Hoschedé auction (1878/06/06) and than would correspond CR102 or CR175, but both works don’t depict an evening scene. I give as uncertain options: 1876, CR201, A Road in Marly, 38×55, private; and: 1876, CR220, A Path in Louveciennes, 46×65, private.

3IE-1877-214        Scieurs de long ; Appartient à M. de Bellio
Eng. = Board sawyers; Nl. = plankenzagers). Moffett (R2,p206+239) suggests: 1876, CR230, Pit Sawyers, 51 x 66, MPP Paris. Berson follows, so do I. In ‘La petite République français’ (1877/04/10) this work is reviewed as a ‘charming painting to which we wish many pendants’ (R90I,p176).

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. As a very uncertain suggestion I give: 1876, CR199, Une Rue à Marly (Place du Marché), 50×65 , Kh Mannheim,  WPinfo

3IE-1877-216        Les Gressets, village aux environs de Paris ; Appartient à M. de Bellio
Moffett (R2) doesn’t give a suggestion, nor does Berson. 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. 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. So as a very uncertain suggestion I render a rising path: 1876, CR218, Hill Path, 38×55, MBA Lyon (iR2;iR10;iR8;R8,p68).
Other paintings depicting a rising path with grassy slopes are: 1875, The Rising Path, 65×51, private (iR2); 1875, Paysage à Andrésy, 47×56, A2009/11/03 (iR11); 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, Paysage avec maisons (Landscape with Houses), 46×61, MBA Strasbourg (iR2); 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
Moffett (R2) doesn’t give a suggestion. Berson omits this work. Pecq lies north-west of Marly, see , next to Saint-Germain-en-Laye. An option would be: 1875, CR164, The Terrace at Saint-Germain, Spring, 74×99, WAM Baltimore, (iR3;iR8;iR2), but Wikimedia writes 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. Other options are: 1876, CR214, Spring in Saint-Germain-en-Laye, 38×56, private (iR2;R1166,p156); 1875, Route tournante, vue de la Seine, xx, MBA Rouen (iR10;HW18); 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. 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 two works: CR212, 1876, Fields at Saint Cloud, 54×73, private

3IE-1877-219        La Machine de Marly ; Appartient à M. Duret
Moffett (R2,p207) suggests CR215, Berson follows, now: 1876, CR215, Le Barrage et la machine de Marly, 38×61, private collection (iR10;R90,p102;R166,p122). To compare I also render: 1873, CR70?, Le barrage de la machine à Marly, 38×61, A2018/11/13 (iR11;iR2;iR10;R166,p122). Sisley also depicted the Machine de Marly in CR67 (=1IE-1874-163) and CR216. 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, CR30, The Bridge at Argenteuil, 39×61, Memphis BMA (iR6;iR11;iR59;iR2;R2,p240;R166,104;R90II,p102). I follow. In 1872 Monet lived in Argenteuil (see). Sisley often visited him. This painting was bought by Manet.

3IE-1877-221        Bords de la Seine, Coup de vent ; Appartient à M. CH…
Eng.: Banks of the Seine, gust of wind. Moffett (R2,p207) suggests with a perhaps CR228, now: 1876, CR228, Bougival, 60×73, Cincinnati AM (iR2;R2,p207). Berson mentions this suggestion, but calls this work not identified. I render also another uncertain suggestion: 1877, The Seine at Saint-Cloud, 38×55, A2010/06/18 (iR2;iR11).

3IE-1877-222        L’Abreuvoir, à Marly
Eng. = Watering place. For information and location of the Abreuvoir see 1876-238. Moffett doesn’t give a suggestion, nor does Berson. As an uncertain suggestion I give: 1875, CR169, The watering place at Marly-le-Roy, 40×56 AI Chicago (iR10;M;iR2;R17,p100;R166,p172); and: CR158, 1875, The Watering Place at Marly, 46×61, Kh Zürich. Sisley often painted the Abreuvoir, so there are several other options.

3IE-1877-223        L’Auberge du Lion-d’Or
Eng. = Inn. Moffett doesn’t give a suggestion. Berson omits this work. As an uncertain suggestion I give: 1876, CR202, 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 an uncertain options I give: 1876, CR198, Winter in Marly, Snow, 46×55, private (iR2); and: 1875-6, CR153, La neige à Marly-le-Roi, 46×55, Orsay (iR10;iR94;iR2;R116II,p148;R166,p152), 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. Moffett doesn’t give a suggestion, nor does Berson. As an uncertain suggestion I give: 1876, CR217, The Laundry, 38×55, AGO Toronto (iR2). Sisley made some paintings of the wash-house in Bougival in 1875 (CR159+160) + 1877.

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, CR164, The Terrace at Saint-Germain, Spring, 74×99, WAM Baltimore, (iR3;iR8;iR2), a work I suggest for no. 217. So I now suggest a work that maybe is a narrowed view of CR164: 1876, CR214, Spring in Saint-Germain-en-Laye, 38×56, private (iR2;R166,p156). 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, CR235, Port Marly and the Flooding, 38×55, private (iR2); 1876, CR236, The Flood at Port-Marly, 50×61, MNTB Madrid (iR2; iR11;R166,p162); 1876, CR238, The Flood on the Road to Saint-Germain, 46×61, MFA Boston, (iR2;R38); 1876, CR241, Flood at Port-Marly, 46×56, FM Cambridge (iR2;R38;R166,p166).
 

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 purchases 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
    • 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).

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).
Moffett and Berson suggest (with a perhaps) CR430 in a private collection in Winterthur (according to Berson the location in unknown). Now: 1881, CR430, Meadows of Veneux-Nadon, 60×81, private (iR2;iR59;R90,p233).

7IE-1882-163      Après-midi d’Août
Eng. = afternoon in August. Moffett and Berson suggest CR436. Now: 1881, An August Afternoon near Veneux, 54×73, private. Silvestre (1882/03/11) reviews that ‘the blues are of a true colorist’ (R90I,p413).

7IE-1882-164      Au bord du Loing
Moffett and Berson suggest (with a perhaps) CR410. Now: 1880ca, CR410, River Banks at Veneux, 60×81, Johannesburg AG (iR6;R90,p212). 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
Moffett and Berson suggest CR435, now in a private collection in Berne (according to Berson location unknown). to compare I render: 1880-81ca, CR410cp,  Winter Morning, Veneux, 50×81, private (iR2;R166,p200;R90,p233). A work that has much similarity with 1882-164 / CR410. The chemin de By lies north of Veneux, see.

7IE-1882-166      Les Laveuses
Moffett doesn’t give a suggestion, nor does Berson. An option is: 1882, CR466, Washerwomen, near Champagne, 54×65, Ottawa, (iR2;iR11). Another uncertain suggestion: 1879, Washerwomen near Champagne, 60×73, A20160203 (iR2;iR11). Paul de Charry (1882/03/14) calls this work remarkable (R90I,p384). 

7IE-1882-167      Pâle soleil d’automne
Eng. = pale sunlight in autumn. Moffett and Berson suggest CR335. Now: 1879, CR335, Autumn sun, morning, 72×53, Axx (iR13;iR10;iR59;iR2;R90,p212). Silvestre (1882/03/11) seeing this work, remembers a verse of Verlaine: ‘A weak dawn. Pouring through the fields. Melancholy. Setting suns. ‘ (R90I,p413). 

7IE-1882-168      Cabane au bord de l’eau
Eng.: Cabine along the water. Moffett doesn’t give a suggestion, nor does Berson. As an uncertain suggestion I give: 1881, CR449, Near Moret-sur-Loing, 55×73, A2005/05/04(iR2;iR11). Another option is: 1881, CR450?, A February Morning at Moret-sur-Loing, 50×65, A1999/06/29 (iR2;iR11;iR10). Rivière (1882/03/11) reviews ‘a true raw tone’ (R90I,p413). 

7IE-1882-169      Saint-Mammès, temps gris
Moffett (R2,p395+418) and Berson suggest CR374. Now: 1880ca, CR374, Overcast Day at Saint-Mammès, 55×74, MFA Boston (iR6;iR2;R2,p418;R90,p234). I follow. Saint-Mammès is about 60km south-east of Paris, see

7IE-1882-170     La prairie, le matin
Moffett and Berson suggest (with a perhaps) CR429, now: 1881, CR429, Willows in a field, May morning, 50×65, private (iR2;R90,p234). I follow. Another suggestion is: 1881, Saint-Mammes, Le matin (Morning), 50×74, Boston MFA. 

7IE-1882-171      effet du soir
Moffett and Berson don’t give a suggestion. Jean de Nivelle (1882/03/04) describes this work: ‘ou l’homme de parti-pris a éprouvé un moment de distraction heureux pour lui et pour le visiteur’ (R90I,p407). In English: where the man of bias(?) has experienced a moment of happy distraction for himself and the visitor. As a very uncertain option I render: 1879, CR304, An Autumn Evening near Paris, 50×65, A2003/02/04 (iR2; iR11). Another suggestion is: 1882, Walnut Trees, Sunset – Early Days of October, 73×92, private. 

7IE-1882-172      paysage, temps orageuse
Eng.: landscape, stormy weather; NL : stormachtig. Moffett and Berson suggest (with a perhaps) CR405. Now: 1881, CR405, Le chemin de petits prés à By, temps d’orage, 55×73, MBA Nice (loan Musée d’Orsay)  (iR10;iR48;R90,p213). I couldn’t find ‘Le chemin de petit prés’ on Google Maps, but There is a ‘Chemin de prés’ in Saint-Mammès, see, and in Thomery, north of Veneux, see. Other uncertain suggestions are: 1880ca, Windy Afternoon in May, xx, xx; and: 1882, CR452, Windy Day at Veneux (La campagne à Veneux), 60×81, Hermitage (R15,p224).

7IE-1882-173      Les petits prés à By
Eng.: The little meadows near By. Moffett and Berson suggest (with a perhaps) CR428, now: 1881, CR428, the small meadow at By, 60×73, AMB Rolandseck or ACBA Bergamo (iR2;iR10;iR172). See also no.172.

7IE-1882-174      St Mammès et les coteaux de la Celle
les coteaux = Eng.: the slopes / hillside; Nl. = hellingen. Moffett doesn’t give a suggestion. As an uncertain option I render: 1880, CR376, Sunrise at Saint-Mammès, 50×65, private (iR2;R166,p192). Note this work has similarities with 1882-169=CR374.

7IE-1882-175      Un noyer  à Veneux
Eng.: Walnut Tree; NL. = notenboom. Moffett and Berson suggest CR432, according to Moffett in a private collection, according to Berson the location is unknown, now: 1881ca, CR432,  Noyer à Veneux-Nadon, 50×65, private (iR6;R90,p213). I only can render a black and white picture. Henri Rivière (1882/04/08) calls this work ‘une bonne étude de noyer’ (R90I,p409). To compare I also give: 1880, CR397, Walnut Tree in a Thomery Field, 58×72, A2012 (iR2;iR14); and: 1882, Walnut Trees, Sunset, Early Days of October, 73×92, private. For Veneux see 1882-162.

7IE-1882-176      Soleil d’hiver à Veneux
Moffett and Berson suggest CR341, now: 1879, CR341, Winter sun in Veneux-Nadon, 50×65, A2020/02/06 (iR11;iR10;R90,p234). For Veneux see 1882-162. Jean de Nivelle describes the work as ‘illuminating a landscape through which meanders a blue river, between birch trees in ever purple 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 depict a meandering road. There are also many green leaves and foliage in this suggested picture, which wouldn’t suggest a winter landscape. A work that comes most close to the description of de Nivelle is the one exhibited as no.164 = CR410. Silvestre (1882/03/11) calls no.176 ‘the most complete piece’ (R90I,p413)

7IE-1882-177      La confluent de la Seine et du Loing
Moffett and Berson do give a suggestion. Sallanches (1882/03/03) describes this work: ‘If the landscape is good, the sky, on the other hand, remains unsatisfactory, the clouds are improbable.’ (R90I,p412). I suggest: 1881, CR421, Saint-Mammès, morning, 50×74, 2011/11/02 (iR10;iR6;iR2;iR11;R166,p198), formerly in the Museum of Fine Arts in Boston. This picture depicts the confluence of the Seine and the Loing (R166,p198). Stevens nor the MFA in Boston suggest this work was exhibited in 1882. Another option is: 1881, CR426, View of Saint-Mammès , 54×73, WAM Baltimore, (iR6; iR2;R166,p194;R38). The confluence is only visible in the distance, but the clouds are more typical, which would affiliate the description of Sallanches and this picture was part of the Durand-Ruel collection, though it is unclear to me since when. Again Stevens doesn’t suggest this work was exhibited in 1882 (R166,p194). Topographically: On the west side of the confluence lies Veneux and on the east side Saint-Mammès on the north side Champagne-sur-Seine, see .

7IE-1882-178      La Seine à St-Denis
Moffett and Berson don’t give a suggestion. As uncertain options I give some older works: 1872, CR47, The Island of Saint-Denis, 51×65, Orsay; and: 1872, CR48, Bords de la Seine, près d’Île Saint-Denis, 46×65, private, (iR2). But maybe the best option is: 1872, CR27, Fishermen spreading out their nets, 50×65, KAM Fort Worth (Mx;iR2;R38;R166,p108), a work that was owned by Durand-Ruel and already exhibited in London in 1872/3 (R166,p108). Across the Seine / the bridge lies the Ile of 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 the Ile of Saint-Denis, see.

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 an uncertain suggestion I give: 1880, Road along the Seine at Saint-Mammès, 108×90, Dallas MA (iR10;iR174;iR166;iR2;iR11), a work that was bought by Durand-Ruel in 1881. A more uncertain option is: 1879-80, Saint-Mammès, 46×38, private, (iR2;iR11;iR10;iR174). 

7IE-1882-180      Le chemin des fontaines à By
Moffett (R2,p395) suggest with a perhaps CR434. Berson follows and describes it more detailed: Le Chemin des fontaines près de By, matin de mai, 65×50, unknown location. I could not find a picture of this work. To compare I give: 1879, CR336, Matin près du Loing, 73×55, A2011/06/21 (iR10;iR64;iR15), a work bought later that year by Durand-Ruel 1882/10/31. To compare I also mention two later works: 1884, Chemin des Fontaines a Veneux-Nadon, 49×66, private; and: 1884, Path from Fontaines to Veneux-Nadon, 49×66, private, (iR2). For Veneux see 1882-162; for By see 1882-165. There is no Chemin des Fontaines anymore, nor in Veneux-les-Sablons, nor in Thomery (iR9).

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 . Moffett / Isaacson (R2,p395) suggests with a perhaps CR437. Berson follows this suggestion and discribes it more fully: now known as ‘Sentier sur les Roches-Courtaut, Automne, 54×73, private. I could not find this picture. To compare I render: 1880, CR403, The Roches-Courtaut Wood, near By, 50×65, private; and: 1881, CR420, Banks of the Loing, Autumn Effect, 66×82, MdI Jerusalem (iR4;iR8;iR11;R166,p48;R90,p235), bought by  Durand-Ruel in 1891. Other works made in les Roches-Courtaut are: 1880, CR408, Le Bois des Roches – Veneux- Nadon, 73×55, Louvre; 1881, CR433, The Lane from By to Roches-Courtaut, St. Martin’s (Indian)  Summer, 60×81, MBA Montreal (iR2;iR27;iR10;R166,p200); 1884, A Corner of the Roches-Courtaut Woods, June, 73×60, private (iR172).

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. As an uncertain suggestion I give: 1880, CR388, Riverbank at Saint-Mammès, 51×66, A2017/06/27 (iR2; iR11).

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. Moffett and Berson suggest CR384, now: 1880, 49×65, unknown or private collection. I could not find a picture. To cmpare I give: 1881, The Fields and Hills of Veneux-Nadon, 54×73, private. Rivière (1882/03/11) reviews ‘I’d blame a little heavy-handedness of execution’ (R90I,p413).

7IE-1882-184      Vue de Moret
Moffett doesn’t give a suggestion, nor does Berson. As an uncertain suggestion I give: 1880, View of Moret, 38×55, private. Eng.: View of Moret. Moret-sur-Loing =65km south-east of Paris, see, it lies east of Veneux-les-Sablons.

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: 1881, CR422, View of Saint-Mammès, 54×74, CMA Pittsburgh (iR2;R166,p196), a work bought by Durand-Ruel 1881/07/23. Silvestre (1882/03/11) 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. Moffett and Berson suggest CR473, now: 1882, CR473, En canot à Veneux, après-midi de september (Dinghy at Veneux, Noon), 47×56, private. I follow.

7IE-1882-187      L’étang de Chevreuil
Eng.: The lake of Chevreuil. 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. There is a small lake in ‘Espace naturel sensible du Lutin’, not far from where Sisley lived, see. Close to Sèvres, there were 3 lakes, see. Moffett doesn’t give a suggestion, nor does Berson. The only painting of a lake I could find is a later painting, which has the same title: 1888ca, CR668, L’Etang de Chevreuil, 54×65, private (iR10;iR64;iR2). (I render two pictures, because the colours are quite different, I don’t know what is more original.) So the original painting exhibited in 1882 is lost and Sisley later on repeated the same theme or the date of the painting rendered is incorrect and must be date around 1882. To compare I also mention the earlier work: 1875, 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, leading around the Étang de Moret, a lake in the middle of the Orvanne. The Chemin de l’étang also crosses the Orvanne, see. (To compare: there also is a small lake in Veneux-Nadon, see 1882-187.) Moffett doesn’t give a suggestion, nor does Berson. As a very uncertain suggestion I give: 1880, CR375, Small Bridge over the Orvanne, March morning, 38×54, private (iRx;R166,p202) .

 

 

Sisley at the Salon:

My main sources are the Salon database of Musée d’Orsay and Blondel (aR1). For the additional sources see read and see more .  Note: an artist mostly 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.

  • 1785, Femmes allant au bois ; paysage
    now probably: 1866, CR4, Street of Marlotte  (Women Going to the Woods),
    65×92, BMA Tokyo.
  • 1786, Une rue de Marlotte ; environs de Fontainebleau
    now probably is: 1866, CR3, Village Street in Marlotte, 50×92, Buffalo AKAG
  • 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 to 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. Probably 1 work was rejected.

  • 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.

  • 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 .
  • 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 does not submit to the Salon (R53,p141)

1873:

Sisley does not submit to the Salon (R53, p141)

1874-1882:

Sisley joins the Impressionist’ expositions of 1874, 1876, 1877 and 1882.

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).

1880:

Sisley tried to exhibit at the Salon (R166,p267).

1890:

Sisley exhibits at the Salon de la Société nationale des Beaux-Arts, the successor of the Salon. He will do so frequently until he death in 1899. He exhibits 5 – 8 works. So the limited amount of 2 works an artist is left behind. He does 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).

  • 819, La porte de Bourgogne à Moret ; (Appartient à M. Mallet)
  • 820, A Moret, le soir ; (Appartient à M. Montagnac)
  • 821, Au Mois de Mai ; (Appartient à M. Clapisson)
  • 822, Au Printemps ; (Appartient à M. Leclanché)
  • 823, Le pont de Moret (Temps gris)
  • 824, Le Loing et le coteau de Saint-Nicaise

1891:

  • 860, Le Loing en été
  • 861, Avenue de peupliers au soleil couchant ; (Appartient à M. Bernheim jeune)
  • 862, La Crue du Loing au pont de Moret (matinée de mars)
  • 863, La passerelle
  • 864, Saules et peupliers ; (Appartient à M. Bernheim jeune)
  • 865, A Moret en hiver (les moulins)
  • 866, L’Orvanne

 

1892:

  • 941, L’Abreuvoir
  • 942, L’Orvanne et le Canal du Loing en hiver
  • 943, Meules de Paille (effet du matin)
  • 944, Au bord du Loing (le matin, effet de printemps), pastel
  • 945, Le Gros Peuplier (effet de soleil voilé)
  • 946, Le Village
  • 947, Le vieux Chemin de Grez au soleil couchant

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

1893:

  • 973, Le Canal du Loing ; été de la Saint-Martin
  • 974, Une après-midi du milieu de l’été
  • 975, Le Soleil couché
  • 976, Le Chantier à Matrat
  • 977, Moret au soleil couchant ; temps orageux
  • 978, Soleil de printemps

 

1894:

  • 1062, Une vieille église ; l’après-midi
  • 1063, Une vieille église ; le matin au soleil
  • 1064, Une vieille église ; par la pluie
  • 1065, Une vieille église ; après la pluie
  • 1066, Derniers jours d’automne
  • 1067, Temps de pluie sur le Loing
  • 1068, En été au bord de l’eau
  • 1069, La porte de Bourgogne à Moret

 

1895:

  • 1141, Une meule de paille (en octobre) ; Appartient à M. Tavernier
  • 1142, Les peupliers (fin d’automne)
  • 1143, Moret (temps pluvieux)
  • 1144, Le sentier du bord de l’eau à Sahurs (le soir)
  • 1145, Ferme normande (matinée de juin)
  • 1146, Les coteaux de la Bouille et la prairie de Sahurs
  • 1147, Vieille ferme ; Appartient à M. Depeaux
  • 1148, Les foins à Sahurs ; Appartient à M. Depeaux

 

1896:

  • 1149, Eglise de Moret (le soir)
  • 1150, Eglise de Moret (temps de pluie) ; (Appartient à M. le Dr Viau)
  • 1151, A Saint-Mammès (soleil de juin) ; (Appartient à M. Décap)
  • 1152, Autour de la forêt (le matin)
  • 1153, Autour de la forêt ; le vieux noyer
  • 1154, Autour de la forêt ; le vallon
  • 1155, A Moret (le soir) ; (Appartient à M. Depeaux)

 

1897:

Sisley doesn’t exhibit.

 

1898:

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

  • 1132, A Penarth
  • 1133, La rade de Cardiff
  • 1134, Lady’s Cove (avant l’orage)
  • 1135, Lady’s Cove (la marée montante)
  • 1136, La vague (baie de Langland)