Sisley account expo’s

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). He mostly follows the Catalogue Raisonné (=CR) of Daulte. Information about the works Sisley exhibited at the Salon, I found in the Salon database of musée d’Orsay (see). Additionally I used the books of Blondel (2016, aR1=R38) and Gale (1992=R53) 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. 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
THE CATALOGUE NUMBERS:
  • 1874-161        Route de Saint-Germain; appartient à  M. Durand-Ruel
    Eng. = the road to…
    Moffett (R2,p123) suggests with a perhaps CR43
    As an uncertain suggestion I give: 1872, The Route from Saint-Germain to Marly, 46×61, MAM San Antonio
    Maybe Sisley showed the same picture in 1876 (no. 243). See there for a possible location. Saint-Germain lies about 2km north of Marly-le-Roy, see.
  • 1874-162        Île de la Loge ; appartient à  M. Durand-Ruel
    Moffett (R2,p123) suggests CR23, now in the Ny Carlsberg Glyptothek in Copenhagen.
    I assume this is: 1872, CR21??, Ferry to the Ile-de-la-Loge, Flood, 46×61, NCG Copenhagen
    île de la Loge is an Island in the Seine along the communities of Le-Port-Marly, Louveciennes and Bougival, see.
  • 1874-163        La Seine à Port Marly
    Moffett (R2,p123+109) suggests with a perhaps CR67, 1873, La Machine de Marly , 45×65, NCG Copenhagen
    Compare 1877-219
    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. A later work like 1875, CR176, La Seine à Port-Marly, tas de sable , 55×74, IA Chicago (see info) would have been more appropriate only looking at the title. Gale (R53) doesn’t confirm the choice of Moffett.

  • 1874-164        Verger
    Eng. = Orchard
    Moffett suggests CR82,now in a private collection in Paris.
    To compare I give: CR62, 1873, Apple Trees in Flower, Spring Morning (Pommiers en Fleurs – Louveciennes), 50×73, private
  • 1874-165        Port-Marly, soirée d’hiver
    Eng.= Winter evening
    Moffett (R2,p123) doesn’t give a suggestion.
    As a uncertain suggestion I give: 1872, The Seine at Bougival in Winter, xx, PBA Lille
    Bougival lies about 2km south-east of Port-Marly, see.
  • 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

 

The second ‘impressionist’ exposition 1876:

Overview:
  • catalogue numbers: 237-244
  • 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 works
    • 7x 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

 

THE CATALOGUE NUMBERS:
  • 1876-237        Effet de neige ; Appartient à M. Martin
    Eng. (=effect of snow)
    I give as an uncertain suggestion: 1874, CR147, Snow effect at Argenteuil, 54×65, private. Argenteuil lies east of Marly-le-Roy. But maybe a snow landscape in Marly-le-Roy is a better suggestion: 1876, Effect of Snow, Marly, 50×61, xx, see. Or: 1876, The Snow at Marly-Le-Roi, 46×55, Orsay, see.
    Moffett (R2,p165) doesn’t give a suggestion.
  • 1876-238        Avenue de l’Abreuvoir, effet de givre ; Appartient à Mme Latouche
    Eng. = Avenue of the watering-place, effect of (hoar-)frost
    I give as an uncertain suggestion: 1873, The Frost (Givre), 46×38, KM Washington
    Better is a picture with the Avenue de l’Abreuvoir on it. Another option: 1876, The First Hoarfrost, xx, BAL London, see.

    Moffett (R2,p165) doesn’t give a suggestion.
    For the location on Google-maps see, for a street view of the Abreuvoir see.
  • 1876-239        Une route aux environs de Marly ; Appartient à M. Martin
    Eng. = A road in the surroundings of Marly
    I give as an uncertain suggestion: 1875, The Route from Marly le Roi, 58×74, private
    Moffett (R2,p165) doesn’t give a suggestion.
  • 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: 1875, The Watering Place at Marly-le-Roi,
    50×66, NG London (or: Tate Gallery, London). I follow.
  • 1876-241        Le bord d’un ruisseau, environs de Paris ; Appartient à M. Durand Ruel
    Eng. = The edge of a brook, surroundings of Paris
    I give as an uncertain suggestion: 1875, The Duck Pond, 46×55, private
    Moffett (R2,p165) doesn’t give a suggestion.
  • 1876-242        Le chemin des aqueducs ; Appartient à M. Durand
    Eng. = The road of the aqueduct
    Moffett gives two suggestions: CR133, 1874, L’Aqueduc de Marly , 54×81, MA Toledo
    and CR13(?) from the Reinhart collection in Winterthur, which is perhaps: 1876, At the Foot of the Aqueduct at Louveciennes, 46×55, xx (see). 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 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.
  • 1876-243        Route de Saint-Germain; Appartient à M. Martin
    Eng. = the road
    Compare : 1874-161 which has the same title, but then owned by the art-dealer Durand-Ruel.
    As an uncertain suggestion I repeat the suggestion of 1874-161: 1872, The Route from Saint-Germain to Marly, 46×61, MAM San Antonio.
    For the possible location on Google-maps, see.
  • 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 quite similar pictures of the same scene and spot in 1876 and already painted the same theme and spot in 1872. 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

 

The third ‘impressionist’ exposition 1877:

Overview:
  • catalogue numbers: 211-227
  • so Sisley showed 17 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
The catalogue numbers:
  • 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, now in the Metropolitan 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.
  • 1877-212        Le Parc ; Appartient à M. H…
    Moffett (R2,p206) suggests with a perhaps CR211 now in Geneva.
    As an uncertain suggestion I give: 1877, The Park at Sevres, 73×92, private. Another option could be: 1876-1881, D444, The Garden of Hoschede, Montgeron, 56×74, Pushkin, (see).
    Sèvres (see) is about 45km south-east of Marly-le-Roy where Sisley lived.
  • 1877-213        Route, le soir ; Appartient à M. H…
    Moffett (R2,p206) suggests with a perhaps CR219.
    I give as a very uncertain suggestion: 1876, CR201, A Road in Marly, 38×55, private
    Another option is: 1876, CR220, A Path in Louveciennes, 46×65, private, see
    Another option is: 1876, CR227, Summer at Bougival, 46×71, Bührle, see .
  • 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. I follow.
  • 1877-215        Rue de village ; Appartient à M. de Bellio
    Eng. = road in a village.
    Moffett (R2) doesn’t give a suggestion.
    As a very uncertain suggestion I give: 1876, CR199, Une Rue à Marly (Place du Marché), 50×65 , Kh Mannheim,  WPinfo
  • 1877-216        Les Gressets, village aux environs de Paris ; Appartient à M. de Bellio
    Moffett (R2) doesn’t give a suggestion.
    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.
    Some very uncertain suggestions are:
    1876, View of St. Cloud – Sunshine, 54×73, AGO Toronto
    1877, A Street, Possibly in Port-Marly, 46×37, FM Cambridge, see .
  • 1877-217        La Seine, au Pecq ; Appartient à M. Charpentier
    Moffett (R2) doesn’t give a suggestion.
    Pecq lies north-west of Marly, see .
    As a very uncertain suggestion I give: 1877, CR265, La Seine au point du jour, 38×47, MuMa Le Havre
  • 1877-218        Champs de foin ; Appartient à M. Charpentier
    Eng. = Hay field
    Moffett (R2) doesn’t give a suggestion.
    As a very uncertain suggestion I give: CR212, 1876, Fields at Saint Cloud, 54×73, private
  • 1877-219        La Machine de Marly ; Appartient à M. Duret
    Moffett (R2,p207) suggests CR215.
    I assume this is: 1875, The Marly Machine and the Dam, 38×46, private
    Compare also 1874-163
    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.
  • 1877-220        Le pont d’Argenteuil en 1872 ; Appartient à M. Manet
    Moffett (R2,p207) suggests: 1872, CR30, The Bridge at Argenteuil, 39×61, Memphis BMA. I follow.
    In 1872 Monet lived in Argenteuil (see). Sisley often visited him. This painting was bought by Manet.
  • 1877-221        Bords de la Seine, Coup de vent ; Appartient à M. CH…
    Moffett (R2,p207) suggests with a perhaps CR228.
    As a very uncertain suggestion I give: 1877, The Seine at Saint-Cloud, 38×55, private
  • 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.
    As an uncertain suggestion I give: CR158, 1875, The Watering Place at Marly, 46×61, Kh Zürich
    Sisley often painted the Abreuvoir, so there are several other options.
  • 1877-223        L’Auberge du Lion-d’Or
    Eng. = Inn
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1876, Inn on Main Street, Marly, 50×65, private
  • 1877-224      Village de Marly. (Effet de neige.)
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1876, Winter in Marly, Snow, 46×55, private
  • 1877-225      Le Lavoir, à Marly
    Eng. The wash house
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1876, CR217, The Laundry, 38×55, AGO Toronto
    Sisley also painted two paintings of wash-houses in Bougival.
  • 1877-226        La Terrasse, à Marly
    Eng. = terrace or dam; Nl. = Dijk, aardwal)
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1875, The Terrace at Saint-Germain, spring, 74×99, WAM Baltimore
    Saint-Germain lies north-west of Marly.
    ‘Terrasse’ also means ‘dam’. When you compare this with 1877-219 than another suggestion is: 
    1876, Waterworks at Marly, 47×62, MFA Boston, see .
  • 1877-227        Inondations
    Eng. = floods
    Moffett (R2,p207) suggests any one of CR 237-240 .
    I give: 1876, CR237, Flood at Port-Marly , 50×61, MBA Rouen
    See also 1876-244 = CR240

 

The seventh ‘impressionist’ exposition 1882:

The catalogue mentions Sisley lived ‘à Moret (Seine et Marne)’. In these days Sisley lived in Moret-sur-Loing and before that in Veneux-Nadon. All these places lie south-east of Paris.

Overview:
  • catalogue numbers: 162-188
  • so Sisley showed 27 works
    • 18x an indication of place
    • 8x an indication of time, season or weather
    • 0x a study

 

THE CATALOGUE NUMBERS:
  • 1882-162      Prairie de Veneux-Nadon
    Veneux-Nadon is now called Veneux-les-Sablons (see). There are still roads called after Nadon (see).
    Moffett (R2,p395) suggests with a perhaps CR430 in a private collection in Winterthur.
    As an uncertain suggestion I give: ca1882, CR456, The Plain at Veneux-Nadon, 54×72, private
    Maybe: ‘1881, Meadows of Veneux-Nadon, 60×81, private’ is a better option, see
  • 1882-163      Après-midi d’Août
    Eng. = afternoon in August.
    Moffett (R2,p395) suggest CR436.
    As an uncertain suggestion I give: 
    1881, An August Afternoon near Veneux, 54×73, private
  • 1882-164      Au bord du Loing
    Moffett (R2,p395) suggest with a perhaps CR410.
    As an uncertain suggestion I give: 1882, Canal du Loing – Chemin de Halage, 127×187, private
    The Loing is a river that flows into the Seine at Saint-Mammès. It’s source is in Sainte-Colombe-sur-Loing, see

  • 1882-165      Le chemin de By
    Moffett (R2,p395) suggest CR435, now in a private collection in Berne.
    As an uncertain suggestion I give: 1880, Near the Seine at By, 54×73, CAI Williamstown
    By lies north of Veneux
    , see
  • 1882-166      Les Laveuses
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1879, Lavandières près de Champagne, 60×73, private
  • 1882-167      Pâle soleil d’automne
    Eng. = pale sunlight in autumn
    Moffett (R2,p395) suggest CR335, now in a private collection in Paris.
    As un uncertain suggestion I give: 
    1881, CR439, Morning in November, 54×73, private
  • 1882-168      Cabane au bord de l’eau
    Eng.: Cabine along the water
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1881, CR450, A February Morning at Moret-sur-Loing, 50×65, private
  • 1882-169      Saint-Mammès, temps gris
    Moffett (R2,p395+418) suggest CR374, now in Boston. Now: 1880ca, Overcast Day at Saint-Mammes, 55×74, MFA Boston. I follow.
    Saint-Mammès is about 60km south-east of Paris, see

  • 1882-170     La prairie, le matin
    Moffett (R2,p395) suggest with a perhaps CR429, now: 1881, CR429, Willows in a field – afternoon, 50×60, xx. I follow.
    Another suggestion is: 1881, Saint-Mammes, Le matin (Morning), 50×74, Boston MFA, see

  • 1882-171      effet du soir
    Moffett doesn’t give a suggestion.
    To compare I give a later work: 1888, Evening in Moret, end of October, 54×73, MTB Madrid
    But maybe the following work is a better suggestion: 1882, Walnut Trees, Sunset – Early Days of October, 73×92, private, see
  • 1882-172      paysage, temps orageuse
    Eng.: landscape, stormy weather; NL : stormachtig
    Moffett (R2,p395) suggest with a perhaps CR405.
    I give as an uncertain suggestion: 1880ca, Windy Afternoon in May, xx, xx
    Another option is: 1882, CR452, Windy Day at Veneux (La campagne à Veneux), 60×81, Hermitage, see. But Kostenevich (R15,p224) doesn’t suggest it was exhibited in 1882.
  • 1882-173      Les petits prés à By
    Eng.: The little meadows near By
    Moffett (R2,p395) suggest with a perhaps CR428, now: 1881, CR428, the small meadow at By, 60×73, AMB Rolandseck.
    See as another suggestion: 1881, CR427, Orchard in Spring – By, 54×73, Boijmans, see .

  • 1882-174      St Mammès et les coteaux de la Celle
    les coteaux = Eng.: the slopes / hillside; Nl. = hellingen
    Moffett doesn’t give a suggestion.
    To compare I give a later work: 1884, CR545, Morning in June (Saint-Mammès et les Coteaux de la Celle), 54×73, private
    La Celle-sur-Seine lies at the other bank of the Seine opposite of Saint-Mammès, see.
  • 1882-175      Un noyer  à Veneux
    Eng.: Walnut Tree; NL. = notenboom
    Moffett (R2,p395) suggest CR432, now in a private collection.
    As another very uncertain suggestion I give: 1880, CR397, Walnut Tree in a Thomery Field, 58×72, Sotheby 2012. Another suggestion is: 1882, Walnut Trees, Sunset – Early Days of October, 73×92, private, see .
    For Veneux see 1882-162.
  • 1882-176      Soleil d’hiver à Veneux
    Moffett (R2,p395) suggest CR341, now in a private collection in Paris.
    As a very uncertain suggestion I give: 1881, Winter Morning – Veneux, 50×81, private
    For Veneux see 1882-162. 

  • 1882-177      La confluent de la Seine et du Loing
    Moffett doesn’t give a suggestion.
    To compare I give a later work: 1885, Confluence of the Seine and the Loing, 54×73, private
    On the south side of the confluence lies Veneux and on the north side Saint-Mammès, see .
  • 1882-178      La Seine à St-Denis
    Moffett doesn’t give a suggestion.
    As a very uncertain suggestion I give an old work: 1872, The Island of Saint-Denis, 51×65, Orsay
    Saint-Denis lies at the west side of Paris, at the right / east bank of the Seine, see.
  • 1882-179      Saint-Mammès
    Moffett doesn’t give a suggestion.
    Sisley made a lot of pictures of and in Saint-Mammès, see also 1882-169. So the title doesn’t give much help.
    As a very uncertain suggestion I give: 1879, Saint-Mammes, 46×38, private
  • 1882-180      Le chemin des fontaines à By
    Moffett (R2,p395) suggest with a perhaps CR434.
    To compare I give a later work: 1884, Chemin des Fontaines a Veneux-Nadon, 49×66, private
    For Veneux see 1882-162; for By see 1882-165

  • 1882-181      La sente des roches
    Eng.: the footpath. Roches was a wood along the Seine near By / Veneux, see .
    Moffett (R2,p395) suggest with a perhaps CR437.
    As a very uncertain suggestion I give: 1880, CR403, The Roches-Courtaut Wood, near By, 50×65, private.
    Another option could be: 1880, CR408, Le Bois des Roches – Veneux- Nadon, 73×55, Louvre, see .
  • 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.
    As a very uncertain suggestion I give: 1881, The Seine at Saint Mammes, xx, Muskegon MA
  • 1882-183      La berge de la prairie de Veneux-Nadon
    Eng.: The (river)bank of the meadow of V-N; NL. = bank. For Veneux see 1882-162.
    Moffett (R2,p395) suggest CR384, now in a private collection.
    As a very uncertain suggestion I give: 1881, The Fields and Hills of Veneux-Nadon, 54×73, private
  • 1882-184      Vue de Moret
    Moffett doesn’t give a suggestion. As an uncertain suggestion I give: 1880, View of Moret, 38×55, private.
    Eng.: View of Moret. Moret =65km south-east of Paris, see ,. it’s now part of Veneux-les-Sablons.
  • 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. As a very uncertain suggestion I give: 1881, Saint Mammes, 80×99, Princeton UAM
  • 1882-186    Après-midi de Septembre en bateau
    Eng.: Afternoon in September in a boat.
    Moffett (R2,p395) suggest CR473, now in a private collection in Switzerland, now: 1882, CR473, En canot à Veneux, après-midi de september (Dinghy at Veneux, Noon), 47×56, private. I follow.
  • 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.
    Moffett doesn’t give a suggestion. To compare I give a later painting with the same title: 1888ca, L’Etang de Chevreuil, seize unknown, private.
  • 1882-188        Le chemin de l’étang
    Eng.: the path / road to the lake. There is a chemin de l’étang in Moret, see.
    Moffett doesn’t give a suggestion. As a very uncertain suggestion I give: 1880, Landscape on the edge of Moret (Landscape near Moret), 65×54, KMF Montclair, USA . Another suggestion is: 1882, CR467, On the Road from Moret, 54×73, private , see .

 

 

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

 

1867:

Sisley was rejected. (R53,p140)

 

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)

 

1870:

His adres was: Cité des Fleurs, 27.

  • 2650, Péniches sur le canal Saint-Martin
    Now probably: 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 probably: 1870, CR16 , Vue du canal Saint Martin Canal, 50×65, Orsay
  • For a comment on these two works also see the introduction to the main page of Sisley.

 

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)

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

 

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)