Impressionism, a historical reconstruction:

Charles-Victor Tillot

(1825-1906)

Account

of his exhibited paintings

Introduction:
On this page you will find an account of the paintings that Tillot exhibited at the ‘impressionist’ expositions, at the Salon and other exhibitions. I will also render the reviews that were given. For general information on Charles-Victor Tillot, his few pictures and the used sources see his main page. On the page with an overview of the titles of his (exhibited) pictures you will also find links to google-maps and other information.

The 2nd impressionist exposition of 1876:

General overview:

catalogue numbers 245-252
so in total Charles Tillot exhibited in 1876 eight works.
- 7x time indication of place, 4 of Villers (no. 245, 246, 247, 250)
- 0x indication of time, season or weather
- 0x a study
- 0x loans (appartient à…)
Moffett does not give one suggestion (R2,p165);
Berson doesn’t mention him at all, which means there also were no specific reviews on his works (R90II,p46)
See 1876 expo for an impression of his exhibited art-works.

Reviews:
L’Audience (1876/04/09 =Rv34**; R90I,p53) sums up 17 partakers, including Tillot. He remarks ‘M. Tillot is inspired by the views and the cliffs of Villers-sur-mer.’
Arthur Baignères remarks ‘The landscapists are numerous and ordinary. Beliard* choose the Oise, Outtin* (sic) fils Montmartre, Tillot* Villiers, Cals* Honfleur.’ (1876/04/12 =Rv41***/***; R90I,p55)
Philippe Burty remarked (1876/04/01) ‘At last in the 3rd room landscapes by Tillot*, Pissarro*, Cals*, Rouard* (sic), Beliard* and Ottin*; the remarkable Natures mortes, by a lady who took the pseudonym of Jacques-François* and a serie of paintings by Degas*; no.36* and washerwomen and dancers.(R90I,p105-106;R2,p153 =Rv16**).
And later (1876/04/15 ) ‘The third room contains landscapes by Tillot* , the pupil and disintersted friend of Th. Rousseau;’ (R90I,p64-66;R2,p153-155 =Rv43***)
Note: Rousseau already died in 1867.
Marius Chaumelin reviewed ‘The landscapes of Sysley* (sic) are a radical mess. Those of Rouart*, Ottin*, Béliard*, Bureau*, Tillot* will not frighten anyone.’ (Rv33***; R90I,p67-68;R2,p167).
A. de L. (=Alfred de Lostalot) 1876/04/01 reviewed ‘…no.36** of Degas is also a good painting, which has nothing to do with the revolutionaire methods. In the same bourgeois range one finds honest landscapes of Lepic*, Rouart*, Tillot*, Cals* and Millet*. (R90I,p86-87;R2,p156+169; Rv10**).
Leroy 1: In Le journal amusant (Rv44**) remarked ‘There are some reasonable artists: landscapes of Rouart* and Tillot*; They are represented by landscapes that have turned their heads… I mean: all their leaves.’ (R90I,p88)
Un passant mentions 17 of the 19 partakers, including Tillot (R90I,p101; Rv19)
Emile Porcheron (1876/04/04) reviewed ‘In the last room… We wonder why Tillot* , who produces paintings reminiscent of the style of old masterpieces, has been counted among the impressionists.’ (R90I,p103; Rv28***)
Alex Pothey (=Rv6***) 1876/03/31 ‘regrets he can’t give the attention the conscientious works of Cals*, Tillot*, Rouard* (sic), Bureau*, Millet* deserve.’ (R90I,p103+104;R2,p155/6).

Catalogue 1876: (R2,p165;iR1)

2IE-1876-245, Le Chaos de Villers
Eng.: the bayerd. Nl.: de baaierd of Villers. Probably Villers-sur-Mer, 50km south of Le Havre, see map. See also no.246.
There were no reviews.
To compare I render a compilation of two paintings: Le Chaos of Villers (Calvados), etch after Salon 1879 painting of J.-B.-Antoine Guillemet (1843-1918); British Museum (iR10;M147)
And also a painting of Tillot I render for no.250 depicting Villers: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

2IE-1876-246, Vue prise des hauteurs du Chaos, à Villers
See also no.245. The exact meaning of Chaos is not sure. In this title it seems to be something more on high. Sometimes it stands for bizarre, chaotic rock formations (iR5).
There were no reviews.
To compare I render a compilation of two paintings: one of Gustave Caillebotte made from a high viewpoint in Villers, but not showing bizarre, chaotic rock formations: 1880, 1CR150 +2CR161, Villas à Villers-sur-Mer, 65x81cm, A2011/05/04 (iR11;R102,no162;R101,no150)
(Compare also a similar painting of his: 1880, CR161+149, Vilers-sur-Mer, 60×73, private (iR2;R102,no161;R101,no149;R2).
And one painting of Tillot I render for no.250, that depicts the beach and cliffs of Villers: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

2IE-1876-247, Falaises, à Villers
2IE-1876-247 + 4IE-1879-232 + 8IE-1886-204 all depict cliffs at Villers-sur-Mer, see overview of his pictures.
There were no reviews.
To compare I render a compilation of two paintings: one of Gustave Caillebotte explicitly depicting the cliffs of Villers: 1880, CR142+134, Cliff at Villers-sur-Mer, 65×81, private (iR2;R102,no142;R101,no134;R2).
And also a painting of Tillot (I render for no.250), which depicts the beach and also the cliffs at Villers: 18??, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

2IE-1876-248, Falaises à marée basse
Eng.: Cliffs at low tide. Compare no.247. I asssume this painting was also made in the surroundings of Villers.
There were no reviews.
Almost the same title as 5IE-1880-193, Falaises de Villers, marée basse.
To compare I render a compilation of two pictures: a watercolour of Paul Huet (1803-69) depicting the cliffs at Villers-sur-Mer and probably at low tide: Les Roches noires, près de Villers, watercolour, 33×51, Rijksmuseum Amsterdam (iR155;iR6;iR10;M77).
And also a painting of Tillot (I render for no.250) depicting the beach at Villers (probably at low tide) and also the cliffs: Maybe: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

2IE-1876-249, Manoir de Graffard
The Manoir de Graffard in an old mansion in Barneville-Carteret in the Normandy pen insula. See links for info in French (iR4; WikiManche.fr); photo’s (iR6; see; iR64); old postcards (see); a list of castles and mansions in Normandy (iR3); the location in Barneville-Carteret (iR9); it lies in the former commune of Barneville, in the Cotentin region, in the Manche département, in the Normandy region (iR4). It is also called Manoir de Barneville, see. In those days it was owned by Armand-Paul Desfriches, comte Doria (1824-1896) (iR4).
Note: At the same exposition Henri Rouart showed an ink drawing depicting the Manoir de Graffard (no.234).
There were no reviews.
I couldn’t find any art-work depicting the Manoir de Graffard.
To compare I render a compilation of an old postcard (see) and a more recent photo (iR6).

2IE-1876-250, Rochers et plage à Villers
There were no reviews.
Tillot made several paintings depicting the beach at Villers: 3IE-1877-230 +5IE-1880-195 +6IE-1881-146.
As an uncertain option I render: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

2IE-1876-251, Plaine de Barbizon
There were no reviews.
To compare I render a compilation of two pictures: a painting of another artist depicting the plains of Barbizon: Théodore Rousseau (1812-1867): 1850s, Edge of the Woods (Plain of Barbizon near Fontainebleau), 55×65, MFA Boston (M22;iR6)
And also a landscape attributed to Charles Tillot, depicting a forest scene: 18??, Sunlit pathway through forest, on board, 26×39cm, A2024/09/14 (iR502;iR10;R2,p207).

2IE-1876-252, Intérieur du Bas-Bréau
There were no reviews.
Compare 3IE-1877-229 ‘Le Bas-Bréan‘.
In former days Bas-Bréau seems to have been a hamlet east of Barbizon with the Route de Bas-Bréau (iR9) in the middle, the former Carrefour de Bas-Bréau in the south (now near the Parking ‘Allée des Vaches’) (see).
Maybe the title refers to the interior of the Hôtellerie du Bas-Bréau in Barbizon, see maps.
But it could also refer to the interior of the forest at Bas-Bréau. I assume the last.
To compare I render a compilation of two pictures: a painting of Théodore Rousseau depicting the interior of the forest at Bas-Bréau: 1836-37, Intérieur de forêt (Le Vieux Dormoir du Bas-Bréau), 65×103, Orsay (iR155;iR10;iR23;M1;M5).
And also a painting attributed to Charles Tillot, also depicting a forest scene: 18??, Sunlit pathway through forest, on board, 26×39cm, A2024/09/14 (iR502;iR10;R2,p207).

The 3rd impressionist exposition of 1877:

General overview:

catalogue numbers 228-241
so in total Charles Tillot exhibited in 1877 14 works, including 1 still life (no. 239), 2 figure painting / portraits (no. 240, 241).
- 9x time indication of place, including 2x Villiers (no. 230, 238), 3x Barbizon (no. 232, 233, 234), 2x the forest of Fontainebleau (no. 228+236), 1x Chailly (no. 229) and 1x Rouen (no. 231)
- 0x indication of time, season or weather
- 1x a study
- 0x loans (appartient à…)
Moffett does not give one suggestion (R2,p207), nor does Berson (R90II,p102), but she refers to reviews for the numbers 228 + 229 + 230 + 232 + 233 (R90II,p84).
See 1877 expo for an impression of his exhibited art-works.

Reviews:
C.D. reviewed in ‘Le Petit Moniteur universel’ (1877/04/08) ‘At the head of all these artists, I would place Tillot, who exhibited exquisite landscapes, among others: Maison et atelier de J.-F. Millet à Barbizon and Forêt de Fontainebleau. We don’t know if it’s the proximity of certain flashy paintings, but we were charmed by the works of Mr. Tillot, who, if not an impressionist, is certainly a clever one.’ (R90I,p142).
Marc de Montifaud (1877/05/01) reviews ‘Is it a sign of weakness, a state of exhaustion of the brush; is impressionism a sect or a phase of a moment? So, if impressionism is a school, what does Mr. Tillot, a landscape painter, asks for there, he whose work fits into the picture known to canvas dealers? It is a hidden place that his is; his Vue du Bas-Bréau and his Plage de Villers are struggling with their smooth skies, their varnished aspect in the middle of these rough-looking works; Mr Tillot looks like a man who washes his hands and puts on a white tie, while the others find it good to keep their dust. But, if he doesn’t like it, he is badly disguised as a maintenance teacher; by stripping himself of the desired convention, his colleagues can become painters, while I seem to see him washing his grounds, dusting his rocks, and presenting honest sheep that would have entered the Palais de l’Industrie without being discussed for a minute. Why be misunderstood? No one is fooled; the upper piece intended to illuminate the Vue du Bas-Bréau is copied from a church painting, it is the conventionally shaped cloud, from which the mystical dove escapes: this sky smells of its theologian. The three mossy rocks, drawn in the foreground of the picture of Bas-Bréau, are cut out of those of la Plage de Villers; it has been found that they would fit in well there. One will choose their use again for a third site; these rocks are of easy execution and their resemblance is unrecognizable; The artist must brush about fifteen at a time on fifteen different canvases; the same greenish tint simulates moss, with economy.’ (R90I,p170)

Catalogue 1877: (R2,p207;R90I,p120/1;iR1)

3IE-1877-228, Forêt de Fontainebleau
Berson refers to the review of C.D., who just mentions the title (R90I,p142).
To compare I render a compilation of two pictures: a painting of another artist depicting the Fontainebleau forest: Diaz de la Peña (1807-76): 1874, SDbl, Forêt de Fontainebleau, 39×57, MBA Reims (M190;iR10;R231-1)
And also a painting attributed to Charles Tillot, also depicting a forest scene: 18??, Sunlit pathway through forest, on board, 26×39cm, A2024/09/14 (iR502;iR10;R2,p207).

3IE-1877-229, Le Bas-Bréan (sic) et la plaine de Chailly
Chailly-en-Bière lies just north of Barbizon, see map. Google maps doesn’t render something like Bas-Bréan in the surroundings of Chailly. Compare ‘Bas-Bréau‘ in 2IE-1876-252 and 4IE-1879-211 (of Rouart). Note: also De Montifaud writing ‘Bas-Bréau‘. So I assume Bas-Bréan is a writting error. Google maps renders a cave called Bas-Bréau (iR9) and a hotel (iR9), both in Barbizon and a road (Route de Bas-Bréau) (iR9) ending just east of Barbizon. In former days Bas-Bréau seems to have been a hamlet east of Barbizon with the Route de Bas-Bréau in the middle, the former Carrefour de Bas-Bréau in the south (now near the Parking ‘Allée des Vaches’) (see).
Berson refers to the review of de Montifaud. She described ‘a church’, ‘sheep’, ‘smooth skies’, ’three mossy rocks’ and compared these rocks with the ones depicted in la Plage de Villers (no.230) (R90I,p170). So, probably outside the built-up area, maybe with a view towards a church in the distance. I couldn’t find a picture of Tillot. But, I will render to compare a marine depicting the rocks (cliffs) of Villers.
To compare I also render: Claude Monet, 1865, CR55a, Grainstacks near Chailly, Sunrise, 30×60, San Diego MA (iR10;R22,no55a;R2), also depicting the plane of Chailly and the belltower of Chailly in the distance.

3IE-1877-230, Plage de Villers
The same title as 5IE-1880-195, Plage de Villers and 6IE-1881-146, Plage de Villers.
Compare also: 2IE-1876-250, Rochers et plage à Villers and 4IE-1879-231, Plage à mare basse.
See overview of his pictures for more works depicting Villers.

Berson refers to the review of Sébillot (who just mentions the title) and of de Montifaud, who described ‘smooth skies’, and ‘(three) mossy rocks’ (R90I,p170).
To compare I render a painting of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18), this painting clearly shows ‘mossy rocks’, but no smooth sky;
To compare I render also a watercolour of another painter depicting the beach of Villers with a quite smooth sky and rocks: Jean Maxime Claude (1824-1904): Villers-Sur-Mer (the beach at low tide), watercolour, 38x53cm, private (iR155;iR10;iR13).

3IE-1877-231, Rouen
There were no reviews.
To compare I render a city view of Tillot, not depicting Rouen but the Sacré Coeur in Paris: 1900-06ca, Sbl, Sacré Coeur, 35×24, A2006/12/06 (iR10;iR89;iR16;iR3;iR6).
To compare I also render a painting of another artist depicting Rouen: Claude Monet (1840-1926): 1872, CR217, SDbr, View of Rouen, 54x73cm, A1995/11/08 (iR6;iR14;R22,no217).

3IE-1877-232, Maison et atelier de J-F Millet, à Barbizon
Note: Tillot lived across the road. Berson refers to the review of C.D. (who just mentions the title) and Descubes who reviewed ‘The best landscape exhibited on rue Lepeletier, is a very small painting in which M. Millot (sic) has painted Millet’s house and studio in Barbizon; one can praise without restrictions this small canvas of a frank and sincere colour, and of a firm drawing.’ (R90I,p142+144). Tillot showed several pictures depicting (streets in) Barbizon, see overview of his pictures.
I couldn’t find a picture of Tillot depicting this house.
Compare: Jan Hendrik Weissenbruch (1824-1903): 1900, The house of J.F. Millet, 24×33, private (iR375;iR10;R290,p91)

3IE-1877-233, La rue de Barbizon
Tillot showed several pictures depicting (streets in) Barbizon, see no.232 and 4IE-1879-241, Vue de la rue de Barbizon; see overview of his pictures.
It is not clear what Tillot depicted under this number. There is a Rue de Barbizon in Cesson (iR9) and in Savigny-le-Temple (iR9), both north-east of the Fontainebleau forest and in Le Mée-sur-Seine, 14km north of Barbizon (iR9). There also is a route de Barbizon, east of Barbizon heading towards Fontainebleau (iR9); in the past it started with the Allée des Vaches (iR9; see). It is also possible that Tillot just depicted any road in Barbizon, where he did live. I assume this last option.
Berson refers to the review of Sébillot (who just mentions the title) and Maillard. The last one reviewed ‘M. Tillot (exhibits) a “chemin creux” (sunken path) that curses in a similar environment.’ (R90I,p165), but I assume this applied to no.234.
To compare I render a compilation of a painting by Tillot depicting a road in Paris (with a view on the Sacré Coeur) (1900-06ca, Sbl, Sacré Coeur, 35×24, A2006/12/06 (iR10;iR89;iR16;iR3;iR6), a photo made by Tillot depicting a road (maybe of Barbizon) and a painting by another artist depicting a courtyard in Barbizon: Charles-Théodore Sauvageot (1826–83): 1865-70ca, La Cour de l’auberge Ganne, Barbizon, oil painting (iR4; iR10).

3IE-1877-234, Bout de village de Barbizon
Tillot showed several pictures depicting (streets in) Barbizon, see overview of his pictures.
According to Berson there were no reviews, but maybe the review of Maillard referred to this number: ‘M. Tillot (exhibits) a “chemin creux” (sunken path) that curses in a similar environment.’ (R90I,p165)
To compare I render a compilation of two paintings of two other artists depicting the edge of the village of Barbizon:
Théodore Rousseau (1812-1867): 18??, The Barbizon plain, ?cm, Indianapolis MA (iR6;M165)
And: Georges Gassies (1829-1919): Maison de Théodore Rousseau, Barbizon, ?cm, Musée départemental de l’Ecole de Barbizon (iR10;iR64)
Note: none of these pictures depict a sunken path.

3IE-1877-235, Meules dans la plaine
Eng.: haystacks in the plane. I assume this painting was made in the surroundings of Barbizon. There were no reviews. I couldn’t find a picture of Tillot.
To compare I render a compilation of two paintings of two other artists depicting grainstacks in a field: Jean-François Millet (1814-75): 1874ca, Haystacks (plain of Chailly), autumn, 85×110, Metropolitan (M23;iR6;iR10).
And: Claude Monet, 1865, CR55a, Grainstacks near Chailly, Sunrise, 30×60, San Diego MA (iR10;iR64;R22,no55a;M223) .

3IE-1877-236, Vue prise des hauteurs des Forges d’Apremont
There were no reviews.
Note: Forges is a miswriting, what is meant is, Gorges d’Apremont which lies in the forest of Fontainebleau, see map. So: view taken from the hights of Gorges d’Apremont. I couldn’t find a picture of Tillot.
To compare I render a compilation of 3 paintings of 3 other artists depicting (the hights of) the Gorges d’Apremont:
Théodore Rousseau (1812-1867): 1852, Les Gorges d’Apremont, Barbizon, on panel, 29×54, Gallery Heim Basel (see).
And: Diaz de la Peña (1807-76): 1867, Les Hauteurs du Jean-de-Paris (Gorges d’Apremont), 84×106, Orsay (M1)
And: Martinus Kuytenbrouwer (1821-97): 1848, Rocks near the Gorges d’Apremont, 94×128, BBM Rotterdam (iR10;iR24;iR6;M70).

3IE-1877-237, Étude d’arbres
There were no reviews.
To compare I render a compilation of a painting of another artist depicting a study of trees: Rosa Bonheur (1822-99): Paysage, étude d’arbres, 37×27, MNCh Fontainebleau (M1;M284;iR10);
and also a painting attributed to Tillot depicting a forest: 18??, Sunlit pathway through forest, ob, 26×39, A2024/09/14 (iR502;iR10).

3IE-1877-238, Vue prise à Villers
Eng.: View taken at Villers. Compare: 5IE-1880-194, Vue prise des hauteurs d’Auberville, Villers-sur-mer.
There were no reviews.
To compare I render a compilation of a painting of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18)
and a painting of Gustave Caillebotte (1848-94) who renders the sea taken from Villers: 1880, 1CR152 +2CR167, Marine, Régates à Villers, 75x101cm, private (iR2;R102,no167;R101,no152)

3IE-1877-239, Fleurs
There were no reviews (R90II,p84). This and the general title makes it (almost) impossible to identify this work.
Some (R175,no53) suggest: 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,no9;R175,no53;R231-1).
This painting depicts (probably) chrysanthemums. That makes it a better (but still uncertain) suggestion for 5IE-1880-202, Chrysanthèmes and 8IE-1886-207, Chrysanthèmes. It is suggested it was exhibited at the Centennial exhibition in 1900: EU-1900-C-633, Fleurs, appartient à M. Henri Rouart (R231-1;R175,no53). Note 1: the same general title as no.239. Note 2: It was not in the posthumous Henri Rouart sale catalogues of 1912 and 1913.
I will render a compilation of this picture and another very uncertain suggestion:
18??, Bouquet de fleurs, 45×36, A2010/12/22 (iR10;iR89;iR18;R2,p207).

3IE-1877-240, Tête de femme
There were no reviews.
Tillot exhibited 5 ‘heads’: 3IE-1877-240; 4IE-1879-240; 5IE-1880-198 +206; 6IE-1881-144.
I couldn’t find any portrait or figure painting of Tillot, except a lying nude.
So to compare I render a painting of another artist: Henri Fantin-Latour (1836–1904): 1873, Study of a portrait of Victoria Dubourg, wife of the artist, 36×31, MBA Ghent (iR6;iR10;M82). Note: the review on 5IE-1880-198 notices a similarity with Fantin-Latour.

3IE-1877-241, Portrait de M. X…
There were no reviews.
Tillot exhibited 3 ‘portraits’ 3IE-1877-241; 6IE-1881-143 +145.
I couldn’t find any portrait or figure painting of Tillot, except a lying nude.
So to compare I render a painting of another artist. Henri Fantin-Latour (1836–1904): 1865, Portrait of Whistler, 47x37cm, Smithsonian Washington (iR155;iR10;M236). Note: Silvestre, reviewing 5IE-1880-198, Tête de jeune fille, sees similarities with Fantin-Latour.

The fourth impressionist exposition of 1879:

General overview:

catalogue numbers 231-241
no. 238 contained of 2 works
so in total Charles Tillot exhibited in 1879 12 works, including 7 still lives (no233-238-2), 2x figure painting (no. 239 + 240) .
- 2x time indication of place, 1x Villers-sur-Mer (no. 232), 1x Barbizon (no. 241)
- 0x indication of time, season or weather
- 0x a study
- 0x loans (appartient à…)
Moffett does not give one suggestion (R2,p270/1), nor does Berson (R90II,p120)
See 1879 expo for an impression of his exhibited art-works.

Reviews:
Gérôme (1879/04/26 reviewed ‘M. Charles Tillot is not an eccentric; he has exhibited flowers which one may find very beautiful, without being in the least a revolutionary in the field of art.’ (R90I,p221)
Henry Havard (1879/04/27) reviewed ‘The fourth salon shows us Une plage à marée basse, as well as flowers, peonies and poppies, all painted with a hand that may be a little heavy, by M. Ch. Tillot, but in sober and wise colours schemes, which cause some surprise.’ (R90I,p223)
Louis Leroy (1979/04/17) reviewed ‘A few fake brothers slipped in at the Avenue de l’Opéra exhibition: M. Tillot, with pleasant flowers and an excellent beach;’ (R90I,p227)
Le Petit Journal (1879/04/11) reviewed ‘… you will find true paintings that would certainly be noticed at the Salon. I will mention (…) the flowers of Mr. Tillot;’ (R90I,p235)
La Petite République française (1879/04/13) reviewed ‘Mr. Tillot, an outstanding flower painter, can without hesitation compete with the masters of the genre.’ (R90I,p237)
F.-C. de Syène (1879/05/01) reviewed ‘Mr. Tillot, who paints a luxuriant bloom of irises, cornpoppies, poppies and peonies;’ (R90I,p243).
J. de Tarade (1879/04/27) reviewed ‘We shall say the same to M. C. Tillot, who exhibits a number of studies of flowers, some of them quite good (no. 238).’ (R90I,p244).
X reviewed in Le Journal des arts (1879/05/09) ‘M. Tissot has a Marée basse and several paintings of flowers that one looks at with pleasure.’ (R90I,p252).
Pierre Véron (1879/04/19) reviewed ‘Flowers signed Tillot are not without merit. But I did not understand how they were independent.’ (R90I,p250).

Catalogue 1879: (R2,p270/1;iR1)

4IE-1879-231, Plage à mare basse
Berson refers to the reviews of Havard, Leroy and X. None of them described this picture.
I assume this painting was made in the surroundings of Villers-sur-Mer, see no.232 and overview of his pictures.
Tillot made several paintings depicting the beach at Villers: 3IE-1877-230 +5IE-1880-195 +6IE-1881-146; and also low tide (at Villers): 2IE-1876-248 +250 +4IE-1879-231 +5IE-1880-193.
To compare I render a compilation of two paintings (probably) showing the beach of Villers at low tide:
One of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).
And one of Eugène Boudin (1824-1898): 1891, SDbr, La plage de Villers, 50×74, A2016/03/31 (iR10;iR15)
Compare also:
Constant Troyon (1810-85): 1859ca, Coast near Villers, 67×96, WAM Baltimore (iR10;iR6;M48)
Jean Maxime Claude (1824-1904): Villers-Sur-Mer (the beach at low tide), watercolour, 38x53cm, private (iR155;iR10;iR13)

4IE-1879-232, Falaises à Villers-sur-Mer
Berson leaves out this work, which means there were no reviews (R90II,p120).
2IE-1876-247 + 4IE-1879-232 + 8IE-1886-204 all depict cliffs at Villers-sur-Mer, see overview of his pictures.
To compare I render a compilation of two paintings: Gustave Caillebotte: 1880, CR142+134, Cliff at Villers-sur-Mer, 65×81, private (iR2;R102,no142;R101,no134;R2).
And also a painting of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

4IE-1879-233, Fleurs de printemps
Eng.: Spring flowers. Note: the same title as 6IE-1881-140, Fleurs de printemps.
Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron (R90II,p120), but she forgets de Tarade. None of them described this picture.
To compare I render a compilation of 2 pictures:
One of Tillot depicting probably peonies, which are spring flowers: 18??, Sbr, A bouquet of flowers, 80×65, A2025/11/20 (iR17;iR10).
And one of another artist, namely Claude Monet (1840-1926): 1864, SDtr, CR20, Fleurs de printemps, 117x91cm, Cleveland MA (iR6;iR10;M27;R22,no20)

4IE-1879-234, Pivoines et Iris
Eng.: peonies and irises.
Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron (R90II,p120), but she forgets de Tarade. None of them described this picture.
To compare I render a compilation of 2 pictures:
One of Tillot depicting irises and maybe peonies: 18??, Fleurs, 98×77, A2015/04/15 (iR134;iR6;iR18;iR41;iR10)
One of Fantin-Latour (1836-1904) depicting irises and peonies: 1884, Bouquet of Peonies and Iris, ?cm, unknown location (iR358)

4IE-1879-235, Pivoines, coquelicots, etc.
Eng.: peonies and (corn)poppies. Nl. pioenrozen en klaprozen. Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron (R90II,p120), but she forgets de Tarade. None of them described this picture.
To compare I render a compilation of 2 pictures:
One of Tillot depicting peonies, but no (corn)poppies: 18??, Sbr, Nature morte au pivoines, 40×52, A2023/06/15 (iR11;iR10;iR16)
And one of Emile Boilvin (1845-99) depicting peonies and (corn)poppies: Fleurs, pivoines et coquelicots dans un vase chinois, 93×74, A2010/03/24 (iR11;iR10)

4IE-1879-236, Pavots et coquelicots
Eng. poppies and cornpoppies. Nl. papavers en klaprozen. Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron (R90II,p120), but she forgets de Tarade. None of them described this picture.
To compare I render a compilation of 2 pictures of 2 other artists:
To compare I render a still life of Johan Laurentz Jensen (1800–1856), in which he renders a variety of poppies: 18??, Poppies, 80×67, A2001/03/30 (iR6; iR15)
To compare I render a still life of Fantin-Latour (1836-1904) depicting poppies (note: only pavots): 1891, Poppies, 60×53, AGSA Adelaide (iR6;iR8;iR358).

4IE-1879-237, Fleurs dans un vase Persan
Berson refers to the reviews of Gérôme, Havard, Leroy, Le Petit Journal, La Petite République française, de Syène, X and Véron. She explicitly refers to the review of de Tarade. (R90II,p120). None of them described this picture.
To compare I render a compilation of 2 pictures:
One of Tillot depicting flowers in a vase, but not a persian one: 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,no9;R175,no53;R231-1); probably exhibited as: EU-1900-C-633, Fleurs, appartient à M. Henri Rouart.
And one of another artist, namely Odilon Redon (1840-1916) depicting explicitly a Persian vase, but probably made with pastel: Bouquet in a Persian vase, pastel?, ?cm, unknown location (iR10;iR326).

4IE-1879-238-1, Printemps (et Automne)
4IE-1879-238-2, (Printemps et) Automne
(deux tableaux de fleurs sous le même numéro)
Berson leaves out these works, which means there were no reviews (R90II,p120).
I count and render two seperate pictures.

Typical spring flowers are: tulips, daffodils, crocuses, hyacinths, lilies of the valley, primroses, daisies, peonies, azaleas/rhododendrons, snapdragons, violets, lilacs, forsythia, calla lilies (see; see).
To compare I render a compilation of 2 pictures:
One of Tillot depicting probably peonies, which are spring flowers: 18??, Sbr, A bouquet of flowers, 80×65, A2025/11/20 (iR17;iR10).
And one of Auguste Renoir (1841-1919): 1866, SDbr, Spring bouquet, 104×80, FAM Cambridge (M32;iR6;R30,no12;R1,p161)

Typical automn flowers are: Common heather (calluna), begonia, autumn daisy, colchicum, asters, chrysanthemums, dahlias, Japanese anemones, sedums, hydrangeas, toad lily, sun flowers, autumn camelia, petunia, Indian lilac, primrose and cyclamens (see; see).
To compare I render a compilation of 2 pictures:
One of Tillot depicting probably chrysanthemums, which are autumn flowers : 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,no9;R175,no53;R231-1); probably exhibited as: EU-1900-C-633, Fleurs, appartient à M. Henri Rouart.
And one of Fantin-Latour (1836-1904) explicitly depicting autumn flowers: 1889, Flower Still Life: Autumn chrysanthemums in a white vase, 44x40cm, Städel Frankfurt/aM (iR6;M54).

4IE-1879-239, Jeune paysanne
Berson leaves out this work, which means there were no reviews (R90II,p120).
I couldn’t find any portrait or figure painting of Tillot, except a lying nude. So to compare I render a painting of another artist: Jules Breton (1827-1906): Portrait de jeune paysanne Bordelaise, ?cm, unknown location (iR341;iR10)

4IE-1879-240, Tête de jeune fille
Berson leaves out this work, which means there were no reviews (R90II,p120).
Tillot exhibited 5 ‘heads’: 3IE-1877-240; 4IE-1879-240; 5IE-1880-198 +206; 6IE-1881-144. I couldn’t find any portrait or figure painting of Tillot, except a lying nude. So to compare I render a pastel of another artist. Jean-François Millet (1814–75): 18xx, Head of a young girl, pastel, 48x32cm, unknown location (iR333;iR10;see) Note: Tillot was the neighbour of Millet.

4IE-1879-241, Vue de la rue de Barbizon
Berson leaves out this work, which means there were no reviews (R90II,p120). Tillot showed several pictures depicting (streets in) Barbizon, see overview of his pictures.
To compare I render a compilation of a painting by Tillot depicting a road in Paris (with a view on the Sacré Coeur) (1900-06ca, Sbl, Sacré Coeur, 35×24, A2006/12/06 (iR10;iR89;iR16;iR3;iR6), a photo made by Tillot depicting a road (maybe of Barbizon) and a painting by another artist depicting a courtyard in Barbizon: Charles-Théodore Sauvageot (1826–83): 1865-70ca, La Cour de l’auberge Ganne, Barbizon, oil painting (iR4; iR10).
Compare also: Jan Hendrik Weissenbruch (1824-1903): 1900, The house of J.F. Millet (in Barbizon), 24×33, private (iR375;iR10;R290,p91); see: 3IE-1877-232, Maison et atelier de J-F Millet, à Barbizon.

The 5th impressionist exposition of 1880:

General overview:

catalogue numbers 193-206=14
no. 204+205 each contained a frame with, I assume, at least 4 works:14+6=20
so in total Charles Tillot exhibited in 1880 about 20 works, including 5 landscapes (no.193-197), 5 still lives (no. 199-203), 2 figure painting (no. 198+206) and at least 8 non specified studies.
- 4x time indication of place, including 3x Villers(-sur-Mer) (no. 193-5)
- 1x indication of time, season or weather
- 5x a study
- 0x loans (appartient à…)
Moffett does not give one suggestion (R2,p314), nor does Berson (R90II,p156/7)
See 1880 expo for an impression of his exhibited art-works.

Reviews:
Emile Cardon (1880/04/05) reviewed ‘There are also flowers of M. Charles Tillot with a good decorative feeling, very broadly painted and of a great truth of colour.’ (R90I,p271).
Aug. Dalligny (1880/04/16) reviewed ‘The flowers of M. Tillot are especially truthful painting.’ (R90I,p275)
A.E. in La Justive (1880/04/05) reviewed ‘M. Tillot is not an impressionist; he is a wise and excellent painter: charming l’Eglise de Lavardin, l’Allée de forêt au Printemps and the view from the heights of Auberville.’ (R90I,p276).
Charles Flor (1880/04/16) reviewed ‘a portrait of a woman by M. Tillot’ (R90I,p280).
Henry Fouquier (1880/04/10 reviewed ‘Mr. Tillot himself, whose flowers are as if made of dough, whose landscapes are correct, and whose portraits – proh pudor! – have an undeniable character of classical archaism. It is really not worth calling yourself an impressionist to paint according to the masters, following them from afar, it is true, but under their yoke.’ (R90I,p281)
André Michel (1880/04/09) reviewed ‘Mr. Tillot, who seems to be making improvements, has good flower studies.’ (R90I,p300)
Elie de Mont. (1880/04/20) reviewed ‘M. Tillot, who makes very beautiful flowers, broadly and richly painted, not to mention one or two landscapes and one or two studies of heads, is he really in his place?’ (R90I,p302).
Armand Silvestre (1880/05/01) reviewed ‘Mr Tillot, too, does not seem to me to be impressionistic at all. He is not lacking in talent, but his talent does not indicate any rebellion against the work of previous landscape artists. His Plage de Villers (no 195) resembles some of Guillemet’s sketches, with infinitely less power. It’s a very pleasant ragout of colours and quite accurate. His Tête de jeune fille (no 158) (sic) could pass for a sketch of Fantin. His Pivoines, his Giroflées and his Chrysanthèmes are good flower paintings of the kind that are being done a lot these days. All in all, M. Tillot is a very wise independent.’ (R90I,p308).
A critic of the Gaulois (Toute Paris, 1880/04/02) mentioned that he rather would be quiet about the admissions of Pissarro, Rouart, Tillot and Zamdomeneghi (sic) (R90I,p312;R22I,p159).

Catalogue 1880: (R2,p314;R90I,p263;iR1)

5IE-1880-193, Falaises de Villers, marée basse
Tillot made several paintings depicting low tide (at Villers): 2IE-1876-248 +250 +4IE-1879-231 +5IE-1880-193.
Berson leaves out these works, which means there were no reviews (R90II,p156).
To compare I render a compilation of 2 pictures: a watercolour of another painter depicting the beach at low tide in Villers-Sur-Mer with in the distance the cliffs: Jean Maxime Claude (1824-1904): Villers-Sur-Mer (the beach at low tide), watercolour, 38x53cm, private (iR155;iR10;iR13)
And also a painting of Tillot depicting the beach and cliffs of Villers-Sur-Mer: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).

5IE-1880-194, Vue prise des hauteurs d’Auberville, Villers-sur-mer
Auberville lies just south of Villers-sur-mer, see map. Berson refers to the review of A.E. (R90II,p156), who rendered just a part of the title ’the view from the heights of Auberville.’ (R90I,p276).
To compare I render a compilation of 2 pictures: a painting of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).
And also a painting of another artist, namely Gustave Caillebotte made from a high viewpoint in Villers, but not from Auberville: 1880, 1CR150 +2CR162, Villas à Villers-sur-Mer, 65x81cm, A2011/05/04 (iR11;R102,no162;R101,no150)
Compare also a similar painting of Gustave Caillebotte: 1880, 1CR149+2CR161, Vilers-sur-Mer, 60×73, private (iR2;R102,no161;R101,no149;R2).

5IE-1880-195, Plage de Villers
Tillot made several paintings depicting the beach at Villers: 3IE-1877-230 +5IE-1880-195 +6IE-1881-146.
Berson refers to the review of Silvestre (R90II,p156), who reviewed ‘ His Plage de Villers (no 195) resembles some of Guillemet’s sketches, with infinitely less power. It’s a very pleasant ragout of colours and quite accurate.’ (R90I,p308).
To compare I render a compilation of 2 pictures: one of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).
And a painting of Antoine Guillemet (1843-1918) also depicting the beach of Villers: 1912ca, La plage de Villers, 54×73, MBA Valence (iR6;iR23;M1)

5IE-1880-196, Église de Lavardin, Loir-et-Cher
Probably the church Saint Genest in Lavardin in the Loir-et-Cher region, about 200km south of Paris (iR9; iR4; iR6; iR23).
Berson refers to the review of A.E. (R90II,p156), who just calls it charming.
I couldn’t find any art-work on the church Saint Genest in Lavardin.
To compare I render a compilation of a photo of this church (iR6)
and of a later painting of Tillot depicting also a church, namely the Sacré Coeur in Paris: 1900-06ca, Sbl, Sacré Coeur, 35×24, A2006/12/06 (iR10;iR89;iR16;iR3;iR6).

5IE-1880-197, Allée de forêt au printemps
Berson refers to the review of A.E. (R90II,p156), who doesn’t describe this picture.
As an uncertain option I render a painting (attributed to) Charles Tillot (1825-1906): 18??, Sunlit pathway through forest, ob, 26×39, A2024/09/14 (iR502;iR10;R2,p356).

5IE-1880-198, Tête de jeune fille
Berson refers to the reviews of Flor and Silvestre (R90II,p157). The last one reviewed ‘His Tête de jeune fille (no 158) (sic) could pass for a sketch of Fantin.’ (R90I,p308). Charles Flor (1880/04/16) reviewed ‘a portrait of a woman by M. Tillot’ (R90I,p280), which could refer to no.198 and also to no.206.
Tillot exhibited 5 ‘heads’: 3IE-1877-240; 4IE-1879-240; 5IE-1880-198 +206; 6IE-1881-144. I couldn’t find any portrait or figure painting of Tillot, except a lying nude. So to compare I render a painting of another artist. Henri Fantin-Latour (1836–1904): 1870, SDbr, Tête de jeune fille, 32×22, FM Cambridge (iR6;iR10;M184) Note: Silvestre sees similarities with Fantin-Latour.

5IE-1880-199, Pivoines dans une corbeille
Eng.: Peonies in a basket.
Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont and Silvestre (R90II,p157). None of them described this picture.
Compare a still life painting of another artist, namely Marie-Elisabeth-Marthe Barbaud-Koch (1862-1932) depicting peonies in a basket (and also mimosas): Corbeille de Pivoines et Mimosas, 67x55cm, Gallery Saint-Ouen (Proantic.com) (iR116;iR10)
Compare also a still life of Tillot depicting peonies, but not in a basket but in a vase: 18??, Sbr, A bouquet of flowers, 80x65cm, 2025/11/20 (iR17;iR10)
I render a compilation of both pictures

5IE-1880-200, Pivoines et Iris dans un vase de Delft
Eng.: Peonies and irises in a Delft vase
Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont (R90II,p157). None of them described this picture.
To compare I render a compilation of 3 pictures:
One of Tillot depicting irises and maybe peonies in an ordinary vase: 18??, Fleurs, 98×77, A2015/04/15 (iR134;iR6;iR18;iR41;iR10)
One of Fantin-Latour (1836-1904) depicting irises and peonies in an ordinary vase: 1884, Bouquet of Peonies and Iris, ?cm, unknown location (iR358)
And one of Paul Cézanne (1839-1906) depicting a Delft vase, but with other flowers: 1873-75ca, Dahlias in a Delft Vase, 73×54, Orsay (iR2;iR6;R48,no213;M1).

5IE-1880-201, Giroflées
Eng.: wallflower. Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont and Silvestre (R90II,p157). None of them described this picture.
To compare I render a compilation of 2 pictures:
One of Tillot depicting flowers (maybe including wallflowers): 18??, Bouquet de fleurs, 45×36, A2010/12/22 (iR10;iR89;iR18)
One of Fantin-Latour (1836-1904) depicting a sprig of wallflowers: 18??, Brassée de Giroflées, 37×28, A2015/11/07 (iR13)

5IE-1880-202, Chrysanthèmes
Compare 8IE-1886-207 with the same title.
Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont and Silvestre (R90II,p157). None of them described this picture.
To compare I render a compilation of 2 pictures:
One of Tillot depicting flowers (maybe including chrysanthemums, which makes it an uncertain option): 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,no9;R175,no53;R231-1); probably exhibited as: EU-1900-C-633, Fleurs, appartient à M. Henri Rouart.
And one of another artist, namely Gustave Caillebotte (1848-94) depicting explicitly chrysanthemums: 1893, SDbl, 1CR455=2CR485, Chrysanthemums in a Vase, 65×54, private (iR2;R102,no485).

5IE-1880-203, Soucis et chrysanthèmes
Eng.: Marigolds and chrysanthemums.
Berson refers to the reviews of Cardon, Dalligny, Fouquier, Michel, de Mont (R90II,p157). None of them described this picture.
To compare I render a compilation of 3 pictures:
One of Tillot depicting flowers (maybe including chrysanthemums): 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,no9;R175,no53;R231-1); probably exhibited as: EU-1900-C-633, Fleurs, appartient à M. Henri Rouart.
And two of another artist, namely Fantin-Latour (1836-1904):
One in which he depicts marigolds: 1892, Œillets d’Inde (marigolds), 47x46cm, A2004/10/10 (iR6; iR15)
And one in which he depicts chrysanthemums: 18??, Vase with Chrysanthemums, 43×40, MNTB Madrid (M100;iR6;iR10)

5IE-1880-204, Un cadre d’études et esquisses
5IE-1880-205, Un cadre d’études et esquisses
Berson leaves out these works, which means there were no reviews (R90II,p157). I assume that each frame contained at least 4 works. There is no indication of used technique, mostly this means it were oil paintings. There is no indication if these studies were landscapes, figure paintings or still lifes. I assume the first. Also because no.206 also is a study and renders a head, so a figure painting.
As Tillot lived in Barbizon it is assumably that the studies depicted parts of a forest (namely of Fontainebleau).

For no.204 I render a compilation of 4 landscape studies in oil from other artists:
Rousseau: 1833, Étude de troncs d’arbres, 46×61, MBA Strasbourg (iR6;M212)
Rousseau: 1829, Étude de rochers et d’arbres, Fontainebleau, 53×70, MBA Strasbourg (iR6;M212)
Rousseau: 1850ca, Study of a branch with leaves, ?cm, MBB Rotterdam (iR6;M70)
(Attribué à) Corot: 1875ca, Étude de vaches, 22×21, A2029/12/14 (iR13)

For no.205 I render a compilation of 4 landscape studies in oil from other artists:
Note: the last two are not indicated as studies, but look that way and are done on paper.
Rousseau: 1827ca, A quarry (study), on paper, 30x40cm, MBA Ghent (iR6;Mx)
Rousseau: 18??, Etude en foret de Fontainebleau, ?cm, unknown location (iR7)
Corot: 18??, Rochers à Fontainebleau (study?), on paper, 23×37, A20 (iR13)
Corot: 18??, Forêt de Fontainebleau, au plateau brûlé (study?), on paper, 25×32, A2020/06/25 (iR13)

Other examples of studies:
Corot: 1828, Esquisse, Venise, le grand canal, oil on paper, 25×32, A2021/10/13 (iR13)
Rousseau: 1830ca, Esquisse de paysage, ?cm, unknown location (iR6)

5IE-1880-206, Tête d’étude
Berson leaves out these works, which means there were no reviews (R90II,p157). Charles Flor (1880/04/16) reviewed ‘a portrait of a woman by M. Tillot’ (R90I,p280), which could refer to no.198 and also to no.206.
Tillot exhibited 5 ‘heads’: 3IE-1877-240; 4IE-1879-240; 5IE-1880-198 +206; 6IE-1881-144. I couldn’t find any portrait or figure painting of Tillot, except a lying nude. So to compare I render a painting of another artist. Jean-François Millet (1814–75): 1872, Head of a peasant woman, study (Berger se reposant sur son bâton), ?cm, MPP Paris (iR39;iR341;iR155;iR10;M4). Note: Tillot was the neighbour of Millet in Barbizon.

The 6th ‘impressionist’ exposition of 1881:

General overview:

catalogue numbers 140-149
I assume that no. 149 contained at least 4 studies
so in total Charles Tillot exhibited in 1881 at least 13 works, including 3 landscapes, 3 still lives (no. 140-2), 3 figure painting (no 143-4).
- 3x time indication of place, including 1x Villers (no. 146), 2x Saint-Malo (no.147+148)
- 0x indication of time, season or weather
- 5x a study
- 0 loans (appartient à…):
Moffett does not give one suggestion (R2,p356 ), nor does Berson (R90II,p187)
See 1881 expo for an impression of his exhibited art-works.

Reviews:
Paul de Charry (1881/04/22) reviewed ‘Nothing is as pretty as Mr. Tillot’s wallflowers and narcissi.’ (R90I,p334)
Louis Enault (1881/04/15) reviewed ‘I found in the last room of the Exposition des Indépendants some flowers by M. Charles Tillot, Giroflées and Fleurs de Printemps, of a power of relief and of a brightness of colour which show a real skill of hand. There is also a lot of truth and a very intimate and collected feeling in the head of his Jeune Italienne, which would be noticed everywhere. Mr. Tillot is certainly not independent of knowledge and taste.’ (R90I,p339).
Enjoiras (1881/04/12) reviewed ‘M. Tillot’s landscape studies are very accurate in tone and happy in feeling; his flowers are painted with a vigorous brush, very masterful, and he uses a brilliant colouring.’ (R90I,p341).
G.G. in La justice (1881/04/04) reviewed ’the nice flowers of M. Tillot’ (R90I,p342).
Gustave Geffroy (1881/04/19) reviewed ‘M. Tillot exhibits flowers which have, especially the X’s, the brightness and velvetiness of living flowers.’ (R90I,p343)
Elie de Mont. (1881/04/21) reviewed ‘What particular characteristics, what boldness of invention or process do the paintings and studies of M. Ch. Tillot present, which do not emerge from an honest average? I like his flowers very much; I find them broadly and richly painted; but it is certain that they would look very good in any other environment.’ (R90I,p361).

Catalogue 1881: (R2,p356;R90I,p328;iR1)

6IE-1881-140, Fleurs de printemps
Note: the same title as 4IE-1879-233, Fleurs de printemps.
Berson refers to the reviews of de Charry, Enault and also to Enjoiras, G.G. and de Mont. (R90II,p187) None of them described this picture.
To compare I render 2 compilations of 2 pictures:
One of Tillot depicting depicting probably peonies, which are spring flowers: 18??, Sbr, A bouquet of flowers, 80×65, A2025/11/20 (iR17;iR10).
And one of another artist, namely Fantin-Latour (1836-1904) depicting explicitly spring flowers: 1878, SDtl, Springflowers, 29×24, Burrel Glasgow (iR358).

6IE-1881-141, Giroflées
6IE-1881-142, Giroflées
Eng.: wall-flowers. Berson refers to the reviews of de Charry, Enault, Geffroy and also to Enjoiras, G.G. and de Mont. (R90II,p187) None of them described this picture.
To compare I render 2 compilations each of 2 pictures:
One of Tillot depicting flowers (maybe including wallflowers): 18??, Bouquet de fleurs, 45×36, A2010/12/22 (iR10;iR89;iR18)
One of Fantin-Latour (1836-1904) depicting wallflowers: 1875, Bouquet de giroflées blanches, 29×29, A1987/11/11 (iR13)
For no.142 I render as second picture one of Fantin-Latour (1836-1904) depicting wallflowers (and also violets): 18??, Violets and Wallflowers, 29x29cm, private (iR358)

6IE-1881-143, Portrait d’enfant
Berson leaves out these works, which means there were no reviews (R90II,p187).
Tillot exhibited 3 ‘portraits’ 3IE-1877-241; 6IE-1881-143 +145. I couldn’t find any portrait or figure painting of Tillot, except a lying nude. So to compare I render a painting of another artist: Henri Fantin-Latour (1836–1904): 1879, SDtl, Portrait of a girl, ?cm, Centraal Museum Utrecht (iR6;iR10;M75). Note: Silvestre, reviewing 5IE-1880-198, Tête de jeune fille, sees similarities with Fantin-Latour.

6IE-1881-144, Tête de jeune fille
Berson leaves out these works, which means there were no reviews (R90II,p187).
Tillot exhibited 5 ‘heads’: 3IE-1877-240; 4IE-1879-240; 5IE-1880-198 +206; 6IE-1881-144. I couldn’t find any portrait or figure painting of Tillot, except a lying nude. So to compare I render a painting of another artist: Henri Fantin-Latour (1836–1904): 1869, Portrait d’une fille, 33×27, KMM Otterlo (iR335;iR10;M72) Note: a review on 5IE-1880-198 sees similarities with Fantin-Latour.

6IE-1881-145, Jeune Italienne
Berson refers to the review of Enault (R90II,p187), who reviewed ‘There is also a lot of truth and a very intimate and collected feeling in the head of his Jeune Italienne, which would be noticed everywhere.’ (R90I,p339).
Tillot exhibited 3 ‘portraits’ 3IE-1877-241; 6IE-1881-143 +145. I couldn’t find any portrait or figure painting of Tillot, except a lying nude. So to compare I render a painting of another artist: Jean-Jacques Henner (1836–1904): 1859-64, Portrait de jeune Italienne, 41x32cm, Musée Henner Paris (M286;iR10).

6IE-1881-146, Plage de Villers
Tillot made several paintings depicting the beach at Villers: 3IE-1877-230 +5IE-1880-195 +6IE-1881-146.
Berson leaves out these works, which means there were no reviews (R90II,p187).
As an uncertain option I render: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).

6IE-1881-147, Rade de Saint-Malo, étude
6IE-1881-148, Rade de Saint-Malo, étude
Eng.: the bay of Saint-Malo (study). NL.: de zeearm. Saint-Malo lies north of the Brittany peninsula, see map. Berson leaves out these works, which means there were no reviews (R90II,p187).
To compare I render the only marine I could find of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).
To compare I render an old coloured postcard depicting the lighthouse in the bay of Saint-Malo (Côte d’Émeraude) (see).
To compare I render a painting from an unknown painter from 1912 depicting the Côte d’Émeraude of Saint-Malo (iR482; see also other paintings iR482).
To compare see also watercolours of Signac: one from 1931 also depicting the Côte d’Émeraude of Saint-Malo (iR155); one from 1930, depicting the harbour of Saint-Malo (iR155)

6IE-1881-149, Etudes et esquisses d’après nature
Eng.: Studies and sketches from nature. Berson leaves out these works, which means there were no reviews (R90II,p187). Still, Enjoiras mentioned ‘landscape studies’, but that could also refer to his exhibited landscapes (no.146-148). But, indeed it is most likely these were landscape studies.
I couldn’t find a landscape study of Tillot.
To compare I render a compilation of landscape studies of other artists:
Rousseau: 1850-67, Landscape study, ?cm, Reading Public Museum (iR6)
Rousseau: 1834-35ca, Study for the descent of the cows in the mountains of the Haut-Jura, 11×60, Mesdag The Hague (iR6;M76)
Attributed to Théodore Rousseau: 18??, Étude de tronc d’arbre, ?cm, MBA Dijon (iR6;M194)
Corot: 1826-27, Etude d’arbre près d’une torrent en Italie, oil on paper, 28×20, A2020/12/10 (iR13)

The 8th ‘impressionist’ exposition of 1886:

General overview:

catalogue numbers 202-217: 16
no. 210 contained of 2 works: 16+1=17
no. 217 contained a collection of studies with Chinese ink, at least 2, maybe more: 17+1=18
so in total Charles Tillot exhibited in 1886 at least 18 works, including 3 landscapes (no. 202-204), 9x still lives (no. 205-212), 4x figure painting / nudes (213-216).
- 2x time indication of place, including 1x Villers (no. 204), 1x Annecy (no.202)
- 1x indication of time, season or weather
- 8x a study
- 0 loans (appartient à…):
Moffett does not give one suggestion (R2,p447), nor does Berson (R90II,p253/4)
See 1886 expo for an impression of his exhibited art-works.

Reviews:
Félix Fénénon reviewed ‘Mr. Charles Tillot, who treads peonies, chrysanthemums, anemones and naked women with dark stubbornness.’ (R90I,p442).
Henry Fèvre (1886 May/June) reviewed ‘Mr. Tillot takes the plough, leans the brush like a ploughshare, ploughs his canvases where cauliflowers grow instead of flowers. His lac d’Annecy is, on the other hand, of a chromolithographic design. His little naked women are bloody, cannibalistic, too Herculean, stewed in a butcher’s bleeding / stewed in a Boucher like bleeding. Vigorous and lively, however, a woman’s portrait, though also a nosebleed.’ (R90I,p446).
Gustave Geffroy (1886/05/26) reviewed ‘Mr. Charles Tillot is above all a painter of flowers. Peonies and irises, roses and chrysanthemums, bulwarks and anemones. The backgrounds are uniformly dark, and the flowers are usually in cloth. The flower is definitely the painter’s test.’ (R90I,p450).
H. reviewed in Le journal des arts (186/06/11) ‘Mr. Tillot’s flowers have a remarkable grace and freshness.’ (R90I,p452).
Henry Havard (1886/05/17) reviewed ‘We note, in the flowers of M. Charles Tillot, a rare feeling of that fragility of nuance which is one of the characteristic features of nature.’ (R90I,p453).
Firmin Javel (1886/05/16) reviewed ‘M. Charles Tillot, in his figures, is directly inspired by Fragonard; but he is personal in his landscapes.’ (R90I,p459).
J.M. Michel (1886/05/18) reviewed ‘First of all, here is Mr Charles Tillot with a Baigneuse (213) a kind of Suzanne from a village with lively and fresh flesh, all painted neatly in a summer landscape, on the banks of a cheerful stream. Of the other three nude studies by the same painter one would conceive a fairly good impression if it were not for 215, une femme couchée which offers us a rather too loose unpacking of flaccid flesh, something like a practical school subject after a session of operative medicine and disarticulation.’ (R90I,p464).
The Moniteur des Arts (1886/05/21) reviewed ‘M. Charles Tillot exhibits flowers and nude women à la Fragonard: he is a classic among these rebellions.’ (R90I,p467).
Though suggested by Berson, La Petit République Française (1886/05/21) doesn’t seem to review Tillot (R90I,p470/1).
La République Française (1886/05/17) reviewed ‘of Tillot’s nude women, bathed in a reddish sauce and looking as if they were taken from an 1830 Salon; they are “Impressionist” in name only;’ (R90I,p472)
X reviewed in La Liberté (1886/05/18) ‘Mr. Tillot has not yet found the secret of giving the flowers their full brilliance, but there is careful work on the part of this painter which may one day bear fruit. His studies of women are inspired by Fragonard, and such a master is well capable of making a good student.’ (R90I,p474).

Catalogue 1886: (R2,p447;R90I,p425;iR1)

8IE-1886-202, Le lac d’Annecy
Annecy lies about 50km south of Geneva (iR9; iR4; iR5; iR6; iR6).
Berson refers to the reviews of Fèvre, H. and Javel (R90II,p253). None of them described this picture.
In 1859 at the Salon↓ Tillot also exhibited paintings depicting the lake of Annecy.
The Lac d’Annecy is depicted by many painters (iR4). See also pictures exhibited in the Musée Château d’Annecy (see; see PDF).
To compare I render 2 compilations of 2 pictures: a painting of another (younger) artist depicting the Lac d’Annecy: Raoul Carré (1868-1933): Le Lac d’Annecy, ?cm, Musée d’Art et d’Histoire de Montmorillon (iR126; iR4).
And also a picture of Tillot depicting the sea: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2).
Compare also a painting in a post-impressionistic style: Paul Cézanne, 1896, FWN311, Annecy Lake, 64×79, Courtald London (iR6;M60;R2).

8IE-1886-203, L’Approche de l’Orage
Berson refers to the reviews of H. and Javel (R90II,p253). None of them described this picture.
Maybe it is the same painting as ‘1886, Orage sur mer’ (aR6). In that case this painting is a marine painting and maybe made in Villers-sur-Mer, see no.204 and overview of his pictures.
To compare I render a compilation of a painting of another painter rendering an approching storm: John Constable (1776–1837): 1818-19ca, La baie de Weymouth à l’approche de l’orage, 88x112cm, Louvre (since 1873) (iR4;iR10;M5);
and a marine of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

8IE-1886-204, Falaises, à Villers-sur-Mer
2IE-1876-247 + 4IE-1879-232 + 8IE-1886-204 all depict cliffs at Villers-sur-Mer, see overview of his pictures.
Berson refers to the review of Javel (R90II,p253). None of them described this picture.
To compare I render 2 compilations of 2 pictures: one of Gustave Caillebotte: 1880, CR142+134, Cliff at Villers-sur-Mer, 65×81, private (iR2;R102,no142;R101,no134;R2).
And one of Tillot: 18xx, The beach of Villers-sur-Mer (Calvados), on panel, 24×33, A2022/03/07 (iR11;iR18;R2)

8IE-1886-205, Pivoines et Iris
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.
To compare I render a compilation of 2 pictures:
One of Tillot depicting irises and maybe peonies: 18??, Fleurs, 98×77, A2015/04/15 (iR134;iR6;iR18;iR41;iR10)
One of Fantin-Latour (1836-1904) depicting irises and peonies: 1884, Bouquet of Peonies and Iris, ?cm, unknown location (iR358)

8IE-1886-206, Pivoines blanches
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.
To compare I render a compilation of 2 pictures:
One of Tillot depicting peonies, including white ones: 18??, Sbr, A bouquet of flowers, 80×65, A2025/11/20 (iR17;iR10)
Compare a painting of another artist, namely Fantin-Latour (1836-1904) showing namely white peonies : 1874, Pivoines blanches et boules-de-neige, 61x50cm, Hermitage (iR6;M95)

8IE-1886-207, Chrysanthèmes
Compare 5IE-1880-202 with the same title.
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.
Maybe: 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;;R89,no9;R175,no53;R231-1).
To compare I render a compilation of 2 pictures:
One of Tillot depicting flowers (maybe including chrysanthemums, which makes it an uncertain option): 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,no9;R175,no53;R231-1); probably exhibited as: EU-1900-C-633, Fleurs, appartient à M. Henri Rouart.
And one of another artist, namely Fantin-Latour (1836-1904) depicting explicitly chrysanthemums: 1882, Large bouquet of chrysanthemums (iR358)

8IE-1886-208, Chrysanthèmes blanches et dahlias
Eng.: White chrysanthemums and dahlias.
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.
To compare I render a compilation of 3 pictures:
One of Tillot depicting flowers (maybe including chrysanthemums): 1877ca, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,no9;R175,no53;R231-1); probably exhibited as: EU-1900-C-633, Fleurs, appartient à M. Henri Rouart.
And two of another artist, namely Fantin-Latour (1836-1904):
One in which he depicts white chrysanthemums: 1871, Vase of Chrysanthemums, 56×46, MFA Houston (iR6;M163)
And one in which he depicts dahlias: 1873, Dahlias, 33×48, Aberdeen AGM (iR6;M68).

8IE-1886-209, Roses
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.
To compare I render a compilation of two pictures:
One of Tillot depicting roses: 18xx, Nature morte au bouquet de roses, 47×38, A2016 (iR10;iR16). Note: in fact this could be an uncertain option.
And one of another artist, namely Fantin-Latour (1836-1904): 1864, SDl, Roses, 57x46cm, NG London (M61;iR10)

8IE-1886-210-1, Anémones (2 études)
8IE-1886-210-2, Anémones (2 études)
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.
I couldn’t find a picture of Tillot depicting anemones.
To compare I render two pictures of two other artists within one frame:
A painting of Auguste Renoir (1841-1919) that looks a bit like a study: 1892ca, Sbr, Vase d’anémones, 33×26, A2028/05/10 (iR6;iR15;R30,no327)
And an aquarelle of Zacharie Astruc (1835-1907): 1889ca, Anémones en caisse, aquarelle, 65x100cm, CNAP Paris (iR6;R420,fig.76).
Note: though I count this number as two paintings, I render just 1 frame.

8IE-1886-211, Roses dans un vase de Chine
Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.
To compare I render a compilation of two pictures:
One of Tillot depicting roses in a vase, but not a chinese one: 18xx, Nature morte au bouquet de roses, 47×38, A2016 (iR10;iR16)
And one of another artist, namely Auguste Renoir (1841-1919) depicting roses in a chinese vase: 1876ca, Roses in a China Vase, ?cm, private (iR2;iR10)

8IE-1886-212, Pivoines et Pavots
Eng.: Peonies and Poppies.
Compare: ‘1886, Bouquet de Pivoines et Pavots’ (aR6). Berson refers to the reviews of Geffroy, H., Havard, Moniteurs des Arts and X (R90II,p254). None of them described this picture.
To compare I render a compilation of two pictures:
One of Tillot depicting namely peonies: 18??, Sbr, A bouquet of flowers, 80×65, A2025/11/20 (iR17;iR10).
And one of Auguste Renoir (1841-1919) depicting namely peonies, but probably also a poppy: 1872, 2CR26, Still life with peonies (and poppies) (Pivoines dans un vase), 67×83, Kh Mannheim (M51;iR135;iR10;iR221;R30,no92;R190,no88)
Compare also a more traditional still life of Johan Laurentz Jensen (1800–1856) in which he also depicts peonies and and poppies: 1841, Rhododendron, puppies, peony, iris, laburnum and passiflora in a Greek style vase decorated with Bertel Thorvaldsen’s Dagen (The Day), on a marble ledge, 68x45cm, A2002/09/08 (iR6; iR14; see)

No. 213-216 are mostly in general sense reviewed:
Félix Fénénon reviewed ‘Mr. Charles Tillot, who treads … naked women with dark stubbornness.’ (R90I,p442).
Henry Fèvre (1886 May/June) reviewed ‘Mr. Tillot takes the plough, leans the brush like a ploughshare, ploughs his canvases… His little naked women are bloody, cannibalistic, too Herculean, stewed in a butcher’s bleeding / stewed in a Boucher like bleeding.’ (R90I,p446).
Firmin Javel (1886/05/16) reviewed ‘M. Charles Tillot, in his figures, is directly inspired by Fragonard…’ (R90I,p459).
J.M. Michel (1886/05/18) reviewed ‘Of the other three nude studies by the same painter one would conceive a fairly good impression…’ (R90I,p464).
La République Française (1886/05/17) reviewed ‘of Tillot’s nude women, bathed in a reddish sauce and looking as if they were taken from an 1830 Salon; they are “Impressionist” in name only;’ (R90I,p472)
The Moniteur des Arts (1886/05/21) reviewed ‘M. Charles Tillot exhibits … nude women à la Fragonard: he is a classic among these rebellions.’ (R90I,p467)
X reviews ‘His studies of women are inspired by Fragonard, and such a master is well capable of making a good student.’ (R90I,p474)’.

8IE-1886-213, Baigneuse
Berson refers to the reviews of Michel and also to Fèvre, Javel, La Petite République française, La République française and X (R90II,p254). Michel reviewed ‘a Baigneuse (213) a kind of Suzanne from a village with lively and fresh flesh, all painted neatly in a summer landscape, on the banks of a cheerful stream.’ (R90I,p464).
Compare: S1849-1909, Suzanne, étude.
The biblical figure of Suzanne (and the elders) is depicted by many painters; Suzanne mostly bathing in a kind of bath in the open. But Michel doesn’t refer to the elders and he mentions a kind of Suzanne and also mentions a cheerful stream. So, I assume this painting doesn’t depict the biblical figure of Suzanne.
To compare I render two paintings of other artists depicting a scene like described by Michel:
Jean-François Millet (1814-75): 1863ca, Le bain de la gardeuse d’oies (The goose girl), 38×46, A2012/01/29 (iR10;iR4;M48;R116III,p679); and of Pissarro made in 1895: CCP1062, 1895, SDbl, Bather in the woods, 60×73, Metropolitan (M23;iR6;iR10)

8IE-1886-214, Jeune fille dans un paysage
Berson refers to the reviews of Fèvre, Javel, Moniteurs des Arts, La Petite République française, and X (R90II,p254). Michel suggests this was a nude (R90I,p464).
To compare I render a compilation of a painting of Tillot: 1880s, Nude on the couch (Nue couche), 38×46, A2012/01/29 (iR10;iR17;iR11)
and a painting of another artist depicting a young nude girl in a landscape: Jean-François Millet (1814-75): 1846-48ca, Bather, on wood, 19x24cm, NGA Washington (iR6; M21).

8IE-1886-215, Femme couchée, étude
Berson refers to the reviews of Michel and also to the reviews of Fèvre, Javel, La Petite République française, La République française and X (R90II,p254). Michel reviewed ‘215, une femme couchée which offers us a rather too loose unpacking of flaccid flesh’; he suggests this was a nude (R90I,p464).
As an uncertain option I render: 1880s, Nude on the couch (Nue couche), 38×46, A2012/01/29 (iR10;iR17;iR11).

8IE-1886-216, Étude de femme nue
Berson refers to the reviews of Fèvre, Javel, La Petite République française, La République française and X (R90II,p254).
To compare I render a compilation of 2 pictures: a painting of Tillot: 1880s, Nude on the couch (Nue couche), 38×46, A2012/01/29 (iR10;iR17;iR11)
and a study of a nude from another painter: Henri Fantin-Latour (1836-1904): 1872, SDbr, Etude de femme nue, 45×27, Orsay (M1;iR10)
Compare also: Jean-Honoré Fragonard (1732–1806): Untitled (nude study), 15×31, MPM Minas Gerais Brasil (iR6).

8IE-1886-217, Recueil de croquis à l’encre de Chine
Eng.: Collection of studies with Chinese ink. Note: probably this number contained several ink studies, at least 2, maybe more.
Berson leaves out these works, which means there were no reviews (R90II,p254).
I couldn’t find any drawing of Tillot.
Chinese ink combines black carbon pigment and an aqueous binder (iR4); it is also called Indian ink.
To compare I render two drawings of other artists made with (partly) Chinese ink:
Fantin-Latour (1836-1904): 1888-1904, Autour du piano, drawing pen and chinese ink, 20×27, MC Paris (iR195;M8)
Édouard Manet (1832–1883): Portrait d’Edgar Allan Poe, encre de chine au pinceau, 31x?, BNF Paris (iR26;iR40)
More examples are:
Jean-François Millet (1814-75): 1862ca, La précaution maternelle, drawing pen and chinese ink, 28×22, A2019/03/17 (iR17).
Édouard Manet (1832–1883): 1878, L’homme aux béquilles, lavis d’encre de Chine, 27×20, Metropolitan (iR6;M23);
Edgar Degas: 1866-68ca, Portrait d’Edouard Manet debout, drawing (graphite pencil, Chinese ink wash), 35×20, DAG Louvre (iR357;M5a).
Odillon Redon: 1865, Bord de mer, avec village de pêcheurs, drawing (pen and chinese ink), 13x20cm, DAG Louvre (iR357;M5a);
Odillon Redon: 1865, Arbres dans la lande, drawing (pen and chinese ink), 13x20cm, DAG Louvre (iR357;M5a);

Charles Tillot and the Salon:
Charles Tillot exhibited irregularly at the Salon. In 1863 he exhibited at the Salon des Refuses.

S1846-1696, Portrait de l’auteur
Debut with a self-portrait (iR1;aR4;aR5;aR7;iR4;iR3;R9)

S1848-4271, Portrait de Mme T…
(iR1;aR5)

S1849-1909, Suzanne, étude
(iR1;aR4;aR5;aR7)
Compare a study of Delacroix of Suzanne and the elders (M190).

S1849-1910, Portrait de M. CH. de Matharel
(iR1;aR4;aR7)

S1849-1911, Portrait de Mme A…
(iR1;aR5)

S1859-2852, Un lac en Savoie
(iR1;aR4;aR5). Probably also the ‘Lac d’Annecy’, see no.2853.

S1859-2853, Le lac d’Annecy (Savoie)
(iR1;aR5;aR4;aR7). See 8IE-1886-202, Le lac d’Annecy. I couldn’t find a picture of Tillot.
Compare: Paul Cézanne, 1896, FWN311, Annecy Lake, 64×79, Courtald London (iR6;M60;R2).

S1859-2854, Chemin de Sévrier, près du lac d’Annecy (Savoie)
(iR1;aR4;aR5;aR7). Sévrier lies just south of Annecy, see map.

S1861-2959, Dessous de forêt
(iR1;aR4;aR5;aR7)

SdR-1863-759, Souvenir d’Honfleur (paysage)
(iR1)

S1870-2740, Dormoir des Gorges d’Apremont; forêt de Fontainebleau
(iR1;aR4;aR5;aR7)
Compare: 3IE-1877-236, Vue prise des hauteurs des Forges (sic) d’Apremont.

S1870-2741, Portrait d’enfant
(iR1;aR5)

Exposition Universelle:
Tillot exhibited 3 paintings at the Exposition Universelle in 1855 and 1 still-life at the Centennale de l’Art français de 1800 à 1889 in 1900 (iR1;R231-1)

EU-1855-4061, Lisière de forêt
(iR1;aR4;aR5)

EU-1855-4062, Intérieur de forêt
(iR1;iR4;iR3;aR4;aR7)

EU-1855-4063, Souvenir de Pyrénées
(iR1;aR4;aR5;aR7). Some wrongly indicate this was exhibited in 1849 (iR4;iR3)

EU-1900-C-633, Fleurs (appartient à M. Henri Rouart)
Probably: 1877ca, Stl, Floral still life in blue vase, 81×67, A2008/11/20 (iR10=aR15;iR6;iR18;iR17;aR14=iR258;R89,no9;R175,no53;R231-1)
This painting depicts Chrysanthemums. That makes it a (very) uncertain suggestion for 5IE-1880-202, Chrysanthèmes and 8IE-1886-207, Chrysanthèmes. It is also suggested for 3IE-1877-239, Fleurs.
Note 1: the same general title as 3IE-1877-239.
Note 2: It was not in the posthumous 1912 + 1913 auction catalogues of the Henri Rouart collection (R45,p112;iR19;iR40).

Recommanded citation: “Impressionism: Charles-Victor Tillot, account of his exhibited paintings. Last modified 2026/03/09. https://www.impressionism.nl/tillot-account/”

Note: additional info will be added.