Impressionism, a historical reconstruction:

Victor Vignon

(1847 – 1909)

Account

of his exhibited works

 

 

Introduction:
On this page you will find an account of the works that Vignon has exhibited with the Impressionists in 1880 + 81 + 82 + 86 (=IE1880-86) and at the Salon of 1878 (=S1878). You will also find some info on where else his work was exhibited, especially in solo exhibitions at  Bernheim-Jeune in 1894 (=BJ1894), posthumous in 1921 at Bernheim-Jeune (=BJ1921), in 1927 at the Jacques Callot gallery (=JC1927) and in 1938 at Huinck & Scherjon in Amsterdam (=HS1938) and also at regional exhibitions. Also you will find some info on works of Vignon that were auctioned at Hôtel Drouot (=HD), the Georges Petit Gallery (=GP), at the Durand-Ruel Galleries (=DR). Especially the sales of Comte Armand Doria (=GP1899/05/04), of Charles G. (=GP1900/06/11), of Arsène Alexandre (GP1903/05/18), of Stumpf (=GP1906/05/07), of Viau (DR1907/03/21) and of Hazard (GP1919/12/01). And the end you will find some works mentioned in other sources.
My suggestions are based on title, theme and if available signature, dimensions, date, description and suggestions made in sources. Most suggestions are more or less uncertain (=? / =?? / =???), sometimes the suggestions are sure (=) or almost sure (=!?). I also try to make connections between the variouos exhibitions and auctions. For general info on Victor Vignon and the used sources see the main page. See link for the pictures exhibited in 1880, 1881, 1882 and 1886. See links for the pictures at the (solo) exhibitions and at the auctions. See also the links to a topographical overview and to a thematical overview.

 

The 5th impressionist exposition of 1880:

General overview:

• catalogue numbers 216-224
• in total Paul-Victor Vignon exhibited in 1880 9 works.
  • 7x time indication of place, including 2 at Chatou (no. 223 + 224)
  • 1x indication of time, season or weather
  • 1x a study
  • 2x loans (appartient à…): no. 222 M. Martin; no. 224 M. Murat.
• Moffett does not give one suggestion (R2,p314), nor does Berson (R90II,p157+174).
• see link for the pictures
• see link for a topographical overview
• see link for a thematical overview

General reviews:
A.E. (1880/04/05) in ‘La justice’ pointed out three titles (no.216, 222 or 224).
Armand Silvestre (1880/05/01) reviewed ‘Mr. Vignon belongs to the same category of classics in spite of themselves. His Effet de neige à Montesson (no.216) could have been signed by Lépine. That is to say that it is of a great delicacy of tone. His Chemin dans les vignes is more audacious, but betrays only a light preoccupation of M. Monet. Talent in Mr. Vignon, but very doubtful convictions.’ (R90I,p308)
Henry Trianon (1880/04/08) reviewed: ‘The landscapes of M. Vignon are more studies than paintings. There are three in particular to be mentioned: (he than shortly mentions / decripes no. 222, 224 and 218’ (R90I,p313).

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

5IE-1880-216, Effet de neige, Montesson
Berson refers to reviews of A.E. and Silvestre (R90II,p157). A.E. just mentioned the title (R90I,p276). Silvestre wrote that it ‘could have been signed by Lépine‘ (R90I,p308). Earlier that year this work was auctioned: HD1880/02/06-191, Culture à Montesson, offert par le Comte Borio (iR40). Montesson lies just west of Chatou, see no. 223. As an uncertain option I render: 1875-85ca, Snow effect in a suburb, Sbr, 25×33, CAI Williamstown (iR94;M26;R2,p314;iR1;R90I,p263;R90I,p308). =GP1919/12/01-223, Effet de neige dans un coin de banlieue, 25×33, Sbr (Former Hazard collection) (aR18=iR19;R232;R272,p30); Maybe? also: BJ1921-35, Coin de village en hiver (R272,p31).

5IE-1880-217, Rue à Clamart
This work is left out by Berson, which means that there were no reviews (R90II,p157). Clamart lies about 11km south of the Notre-Dame in Paris (iR9). Vignon made several works in Clamart, also of the Rue Saint-Christophe, including one in 1875, but there are no old buildings to be seen on the streetview of this street. As an uncertain option I render: 1875, Sbl, Entrance to a Village (La route bordée d’arbres), 46×55, A1996/06/25 (iR2;iR13). Maybe: BJ1894-26, 1875, Rue Saint-Christophe, à Clamart. Appartiennent à M. Cahen (aR9=iR19).

5IE-1880-218, Chemin dans les vignes, étude
Berson refers to reviews of Silvestre and Trianon (R90II,p157). Silvestre calls it ‘more audacious, but betrays only a light preoccupation of M. Monet‘ (R90I,p308). Trianon wrote: ‘a ‘path in the vineyard’ with a stormy sky.’ (R90I,p313). To compare I render: 18xx, Vast landscape with vines, 22×29, A2018/07/12 (iR13;iR11), a work that has some similarities with Monet, but no stormy sky. In the sale of the Doria collection there was: GP1899/05/04-236, Le chemin des vignes, à Hédouville (Seine-et-Oise), 31×46 ; 620fr. (former Comte Armand Doria collection) (aR14=iR40;R232;R154). Maybe it was the same as no.218.

5IE-1880-219, Chemin près Carrières-Saint-Denis
This work is left out by Berson, which means that there were no reviews (R90II,p157). There is a Carrières-sur-Seine about 16km south-west of Saint-Denis and west of Paris. Vignon also has painted in Chatou, just south of Carrières-sur-Seine. There also is a Carrières-sur-Poissy, about 25km south of Auvers-sur-Oise. As far as I know Vignon didn’t paint in these neighbourhoods. Another possibility is that ‘carrières’ is meant to be a quarry. As a very uncertain option I render: 18xx, L’éclaircie (The clearing; Le sentier), 54×65, A1999/01/13 (iR13).

5IE-1880-220, Près les Gressets
This work is left out by Berson, which means that there were no reviews (R90II,p157). There is a Chemin des Gressets in Louveciennes, where Vignon also has painted. There also is an Avenue des Gressets in La Celle Saint-Cloud, where Vignon also has painted. As a very uncertain suggestion I render: 1880-85 (1882ca), The turning road, 39×47, MF Aix-les-Bains (R272,no19;R89,p47;iR94); and also: 18xx, The Village Behind the Trees (village à travers les arbres), 33×40, A2010/03/25 (iR2;iR11;iR13).

5IE-1880-221, La Seine, près la Grenouillère
This work is left out by Berson, which means that there were no reviews (R90II,p157). La Grenouillère was a famous bathing spot painted by Monet and Renoir in 1869. As uncertain options I render: 18xx, Paysage, 21×35, Meissner coll (aR8); and: 18xx, Boating on the river, 23×42, A2014/04/17 (iR13).

5IE-1880-222, Arbres fruitiers et maisons; appartiennent à M. Martin
Berson refers to reviews of A.E. and Trianon (R90II,p157). A.E. just mentioned part of the title (R90I,p276). Trianon writes: ‘An ‘orchard’ where the first breath of spring is already announced;’ (R90I,p313). As an uncertain option I render: 18xx, Reed house in Cheneval, 33×46, A2019/12/05 (iR13) =? GP1899/05/04-233, Chaumières à Chenival, 31×44; 820fr. (former Comte Armand Doria collection) (aR14=iR40;R232;R154).

5IE-1880-223, Chemin vert, près Chatou
This work is left out by Berson, which means that there were no reviews (R90II,p157). Chatou lies about 18km west of Paris. As a very uncertain option I render: 1878-85 (1880-85), Chemin des frileuses à Evecquemont, 46×65, Orsay (aR1;iR23;R272,no1;M1); and also: Paysage de campagne, 39×56, A2013/11/16 (aR1;iR13;iR11).

5IE-1880-224, Carrières, près Chatou; appartiennent à M. Murat
Berson refers to reviews of A.E. and Trianon (R90II,p157). A.E. just mentioned as title ‘une Carrière’ (R90I,p276). Trianon just writes ‘A ‘study of a quarry’ (R90I,p313). Compare: 8IE-1886-230, Une carrière, Champagne; esquisse; appartient à M.  Beauvais. Compare also: 5IE-1880-219, Chemin près Carrières-Saint-Denis; Carrières-sur-Seine lies just north of Chatou, see no.219. To compare I render: cp1887-89, The Quarry, 26×35, A1987/10/21 (R272,no30;iR13) =?BJ1894-9, 1888, Carrières à Nesles (aR9=iR19).

 

 

The 6th ‘impressionist’ exposition of 1881:

General overview:

• catalogue numbers 151-165
• so in total Victor Vignon exhibited in 1881 15 works, including 1 depicting a chemin vert (no. 163).
  • 13x time indication of place; including 2 at Bougival (no. 156 + 163) and 1 at Port-Marly (no. 155); 2x La Jonchère (no 162+ 165), Troesnes (no. 165)
  • 1x indication of time, season or weather
  • 0x a study
  • 1x loans (appartient à…): no. 165 M. Mitrecey.
• Moffett does not give one suggestion (R2,p356), nor does Berson (R90II,p187+197).
• Because none of the works exhibited are described, all my suggestions are based on combining titles / themes and if possible on dating.
• see link for the pictures
• see link for a topographical overview
• see link for a thematical overview

General reviews:
Paul de Charry (1881/04/22) reviewed: ‘Mr. Vignon sometimes forgets that he is intransigent and makes landscapes of perfect finish, such as …’, he than just mentions several titles (R90I,p334).

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

6IE-1881-151, Paysage
6IE-1881-152, Paysage
These works are left out by Berson, which means that there were no reviews (R90II,p187). As very uncertain options I render: 1878ca, Sbl, The haystack, 56×66, Leighton Gallery (iR317;iR310;iR64); and: 1880-90, The haystacks, 38×55, private (R272,no26).

6IE-1881-153, Chemin des Bourbiers, neige fondue
Eng.: road at Bourbiers, melted snow. Berson refers to the review of de Charry (R90II,p187), who only mentioned the title. There are several roads with this name, the Chemin des Bourbiers in Bougival is most likely meant (iR9). As a very uncertain option I render: 18xx, La route vers le village dans la neige, 33×46, A2007/12/14 (iR13;iR11).

6IE-1881-154, Chemin à la Celle Saint-Cloud
La Celle Saint-Cloud lies south of Bougival, about 20km west of Paris (iR9). This work is left out by Berson, which means that there were no reviews (R90II,p187). As a very uncertain suggestion I render: 1880-85ca, Sbl, L’orée du village, 33×41, A2021/03/30 (iR17); and also: 18xx, Rue du village, 33×41, A2008/09/10 (iR11;iR13). Compare these works with: HD1905/04/10-46, Sl, Entrée de village, 33×41, former M. Louis Flornoy collection (iR40;R240).

6IE-1881-155, La Seine à Port-Marly
Berson refers to the review of de Charry (R90II,p187), who only mentioned the title. As an uncertain option I render:  18xx, sur la fleuve, 18×25, A2009/10/28 (iR13;iR11). It depicts the old paper factory to the left and the washhouse to the right, also many times depicted by Pissarro (R116,CCP229+236) and Sisley (R129,CR72+160+177+326). Note: 7IE-1882-191 + 200 have the same titles. The suggestions I make are interchangeable. Le Port-Marly lies about 22km west of Paris, just west of Bougival.

6IE-1881-156, Saulaie à Bougival
Eng.: willow at Bougival. This work is left out by Berson, which means that there were no reviews (R90II,p187). Bougival lies about 20km west of Paris, just east of Port-Marly. No. 163 and 7IE-1882-195 were also made in Bougival. I render two options: 18xx, Pollarded willows in a summer landscape, on panel, 27×40, A2016/06/24 (iR13;iR11;iR2); and: 1879, Les ormes (Elm trees), on wood, 11×23, A1999/05/30 (R272,no6;iR13). The last one is also on option for 7IE-1882-201, Étude d’arbres (Île de Croissy), and: GP1899/05/04-241, Les Saules, 15×24, former Comte Armand Doria collection (aR14=iR40;R232;R154).

6IE-1881-157, Arbres fruitiers à la Ferté-Milon, Aisne
Berson refers to the review of de Charry (R90II,p187), who only mentioned the title ‘arbres fruitiers’, but this could also refer to no.162. Ferté-Milon in the Aisne district, lies about 80km north-east of Paris (iR9). I render a very uncertain option: 18xx, Paysage de campagne, 33×46, A2014/06/28 (iR13), but actually I think this work was made later than 1881.

6IE-1881-158, Chemin de Bouzanleu, Aisne
This work is left out by Berson, which means that there were no reviews (R90II,p187). There now is a Rue Bouzanleux in Noroy-sur-Ourcq (iR9), leading in the direction of Chouy. Compare: HD1914/06/12-75, Le vieux chemin de Chouy à Noroy-sur-Ourcq (Aisne), 15×27, Sbr, 50fr (former Roger Marx collection) (R272,p30). Probably: 18xx, Le chemin de Chauny à Noroy-sur-Ourcq, 16×27, A2003/12/16 (iR13). Maybe also: BJ1894-68, 1872, Une Rue à Noroy. (aR9=iR19).

6IE-1881-159, Montbuisson, Seine-et-Oise
This work is left out by Berson, which means that there were no reviews (R90II,p187). Compare: BJ1894-76, 1876, Le Chemin de Saint-Michel à Montbuisson (aR9=iR19); and: DR1907/03/21-84, Le chemin de Saint-Michel à Montbuisson, 46×55, Sbl, ill. (Former Viau collection) (R272,p30;aR7=iR261). There is a Rue de Montbuisson in Louveciennes, that crosses the Rue Saint-Michel, where now is the station. Louveciennes was part of the former department Seine-et-Oise (iR3). As an uncertain option I render: 18xx, Rue du village animée, 25×36, A2005/06/15 (iR13).

6IE-1881-160, Noroy-sur-Ourcq
This work is left out by Berson, which means that there were no reviews (R90II,p187). Noroy-sur-Ourcq, lies about 90km north-east of Paris, about 10km north-east of Ferté-Milon. As a very uncertain option I render: 18xx, L’entrée du village, 27×35, A2014/02/16 (iR13).

6IE-1881-161, Chemin creux à Saint-Waast
Eng.: hollow road. This work is left out by Berson, which means that there were no reviews (R90II,p187). Saint-Waast is now part of Ferté-Milon (iR9). Compare: GP1919/12/01-248, Le chemin creux, 15×24, Sbl (Former Hazard collection) (aR18=iR19;R232;R272,p30). As an uncertain option I render: 1880-85, Road with thatched cottages, 33×41, MF Aix-les-Bains (R272,no18;iR94;M13). 

6IE-1881-162, Arbres fruitiers à la Jonchère
See also no.165 at Jonchère. La Jonchère is the name of the hill at the east-side of Bougival. There is a Avenue de la Jonchère in La Celle Saint-Cloud, east of Bougival. Berson refers to the review of de Charry (R90II,p187), who only mentioned the title ‘arbres fruitiers’, but this could also refer to no.157. As a very uncertain option I render: 18xx, Apple Tree in Bloom (arbre dans un champs), 32×41, A2014/12/15 (iR2;iR11;iR13); this work is also an option for: BJ1921-7, Pommier au milieu d’un champ (R272,p31).

6IE-1881-163, Chemin vert à Bougival
5IR-1880-223 and 8IE-1886-228 also are titled ‘chemin vert’. No. 156, and 7IE-1882-195 are also made in Bougival. This work is left out by Berson, which means that there were no reviews (R90II,p187). As a very uncertain options I render: 1880-90, Entrance of the hamlet Chartre (rue de village), 55×66, A1999/12/15 (R272,no14;iR13); and: 18xx, Mother and Child taking a Walk (Mère et enfant se promenant), 32×41, A2006/05/04 (iR2;iR14;iR13); and: 18xx, Sbl, L’entree du village, 33×41, A2011/01/27 (aR1;iR13;iR11). 

6IE-1881-164, Troesnes
Troësnes lies about 85km north-east of Paris (iR9), just west of Noroy-sur-Ourc. This work is left out by Berson, which means that there were no reviews (R90II,p187). As a very uncertain option I render: 1880-85, The village, 54×64, private (R272,no15).

6IE-1881-165, La Jonchère; appartient à M. Mitrecey
See also no.162. La Jonchère is the name of the hill at the east-side of Bougival. There is a Avenue de la Jonchère in La Celle Saint-Cloud, east of Bougival. Berson refers to the review of de Charry (R90II,p187), who only mentioned the title. As a very uncertain option I render: 1880s, Springtime, 60×79, Baltimore MA (iR2;iR64;M24).

 

The 7th ‘impressionist’ exposition of 1882:

General overview:

• catalogue numbers 189-203
• so Vignon exhibited in 1882 15 works, including 2 still lives (no. 194 + 198), 1 work depicting a footpath (no. 193) and two works with thatched cottages (no. 190+ 202).
  • 10x time indication of place; 2x Port-Marly (no. 191 + 200), 2x Auvers (no. 190 + 193), 1x Bougival (no. 195).
  • 1x indication of time, season or weather
  • 2x a study
  • 2x loans (appartient à…): no. 189 M. R.; no. 190 M. D;
• Moffett does not give one suggestion (R2,p395), nor does Berson (R90II,p213/4+235).
• see link for the pictures
• see link for a topographical overview
• see link for a thematical overview

General reviews:
Hustin (1882/03/03) just points out no. 189, 199, 191/200 and 194, by mentioning the titles (R90I,p395).
Hustin (1882/03/10) mentions the titles of no. 189, 194, 199, 191/200 to remember (R90I,p396).
La Fare (1882/03/02) reviewed ‘The landscapes of M. Victor Vignon are very similar to those of M. Pissaro (sic); they are only painted more finely, more delicately; la Seine à Port-Marly and les Champs de grès are very well achieved.’ (R90I,p401).
Meurville (1882/03/21) reviewed ‘Mr. Victor Vignon is a born talent, seeking the absurd to make himself known, as so many philosophers have used paradox to make a name for themselves. Les Chaumières à Auvers (no.190) shows a sense of colour and a feeling for nature; I like this as much as some of the syndicated Corots, advocated with great fanfare and carried at a price reminiscent of the insane prices of certain values. The Corot crash! We will see that one day.’ (R90I,p404).
Jean de Nivelle (1882/03/04) reviewed ‘Finally, we find the eternal purple spring in the Bois de Louveciennes (no.192) of M. Vignon, the criminal author of a study with four pencils, the head of a teenager who would have been happy with only one, so much it looks martyred, almost spread out, in a word drawn with four pencils’ (no.203).
Henri Rivière (1882/04/08) reviewed ‘Les Chaumières à Auvers (no.190) and  une Route au Val-Hermé (no.189), are nice little studies, delicately treated and of a very fine tone.’ (R90I,p409).
Armand Sallanches (1882/03/03) reviewed ‘M. Vignon is inspired by the same source as M. Pissarro, but he is less strong in composition but more brilliant in colour. His ‘Plaine à Rueil’ (no.199) and ‘La Seine à Bougival’ (no.195) are well illuminated. ‘Pommes et raisins’ (no.194) is well treated, but one does not know where to find the center of gravity that keeps them on the table.’ (R90I,p412).
Armand Silvestre (1882/03/11) reviewed ‘With a little more scope in the execution, Mr. Vignon would satisfy me more. His painting resembles a little too much the works in hair. His best submissions seem to me to be Champ aux grès (no.197) and la Sente d’Auvers (no.193).’ (R90I,p414).

Catalogue 1882: (R2,p394;iR1;R90I,p377)

7IE-1882-189, Une route au val Hermé; , appartient à M. R.
Berson refers to the reviews of Hustin (2x) and Rivière (R90II,p214). Hustin just mentioned the title (R90I,p395/6). Rivière just generally describes: ‘are nice little studies, delicately treated and of a very fine tone.’ (R90I,p409). Le Valhermeil lies just south of Auvers-sur-Oise (iR9). In titles of Vignon it is written in different ways: Val Hermay, Val-Hermé, Val-Hermoy, Vallermé. See also 7IE-1886-231. I render two uncertain options: 1880, The Hamlet of Valhermeil near Auvers-sur-Oise, 54×65, MBH Bayonne (iR2;iR59); and: 18xx, A route de Valhermeil near, Auvers-sur-Oise, 33×47, A2010/12/21 (iR13).

7IE-1882-190, Les chaumières à Auvers, appartient à M. D.
Berson refers to the reviews of Meurville and Rivière (R90II,p214). Meurville reviewed ‘shows a sense of colour and a feeling for nature; I like this as much as some of the syndicated Corots’ (R90I,p404). Rivière just generally describes: ‘are nice little studies, delicately treated and of a very fine tone.’ (R90I,p409). As a very uncertain option I render: 1880-90, House at three wells (puits), Auvers-sur-Oise, 46×54, private (aR1;R272,no28); actually this work doesn’t look much like a Corot. Neither does an even more uncertain option: 18xx, Entrance to a Village (Entrée du village), 39×46, A2006/03/23 (iR2;iR14;iR13).

7IE-1882-191, La Seine à Port-Marly
Berson refers to the reviews of La Fare and Hustin (2x) (R90II,p214), but this could also refer to no.200. Hustin just mentioned the title (R90I,p395/6), so does La Fare (R90I,p401). As an uncertain suggestion I render: H&S1938-25 =? HD1905-47, Bords de la Seine, 27×40, Sl, 550fr Stumpf  (former M. Louis Flornoy collection), bought by Stumpf for 550fr. (iR40;R240). It depicts the old paper factory to the left and the washhouse to the right, also many times depicted by Pissarro (CCP229+236) and Sisley (CR72+160+177+326). Note: no.200 has the same title, so does 5IE-1881-155 . The suggestions I make are interchangeable.

7IE-1882-192, Louveciennes
Berson refers to the reviews of de Nivelle (R90II,p214), who reviewed ‘we find the eternal purple spring in the forest of Louveciennes’ (R90I,p407). As an uncertain option I render: 18xx, Spring Landscape, 49×65, A2005/01/19 (iR2;iR14;iR13); it doesn’t really depict a forest, but it renders a lot of purples.

7IE-1882-193, La Sente d’Auvers
Eng.: the (foot) path in Auvers. See also 8IE-1886-234bis and compare other footpaths: 8IE-1886-220, 222, 234ter. Berson refers to the review of Silvestre (R90II,p214), who calls it one of his best submissions (R90I,p414). As an uncertain option I render: 1880ca, Sbl, Figures in a village street, Auvers-sur-Oise, 36×46, xx; and also: 18xx, View of Auvers-sur-Oise, 32×41, A2017/05/19 (iR2;iR11;iR41).

7IE-1882-194, Pommes et raisins
Eng.: Apples and grapes. Berson refers to the reviews of Hustin (2x) and Sallanches (R90II,p214). Hustin just mentioned the title (R90I,p395/6). Sallanches reviewed that it ‘is well treated, but one does not know where to find the center of gravity that keeps them on the table.’ (R90I,p412). To compare I render: 18xx, Pommes et pichet (Apples and a pitcher), 81×114, MuMa Le Havre (HW;iR2;M15).

7IE-1882-195, La Seine à Bougival
Bougival lies about 20km west of Paris, just east of Port-Marly. 6IE-1881-156+163 were also made in Bougival. Compare also: S1878-2243, La Seine à Bougival, un jour de printemps (iR1) . Berson refers to the review of Sallanches (R90II,p214), who calls it ‘well illuminated’. (R90I,p412). As an uncertain option I render: 18xx, Bateaux sur la rivière, 32×46, A1989/02/16 (iR13). In the distance one can see the ‘Machine de Marly’, compare Sisley (R129,CR67) and Pissarro (R116,CCP234). Compare also: 6IE-1880-221, 6IE-1881-155 and 7IE-1882-191 + 200, al depicting the Seine.

7IE-1882-196, Le chemin de la Princesse
This work is left out by Berson, which means that there were no reviews (R90II,p214). There is a Chemin de la Princesse in Neuville-sur-Oise. And there is a Rue de la Princesse in Louveciennes, what is the prolonged road to the north of the Rue de Montbuisson, see 6IE-1881-159. As a very uncertain suggestion I render: 1882 (HW85), La route du village au printemps (~à Ricarda), 38×46, A2017/11/22 (iR11;iR2;iR13); note the given date is not very clear.

7IE-1882-197, Les champs aux grès
Eng.: the fields of sandstone. Berson refers to the reviews of La Fare and Silvestre (R90II,p214). La Fare just mentions the title (R90I,p401). Silvestre calls it one of his best submissions (R90I,p414). As a very uncertain suggestion I render: 18xx, Sbl, Village aux creux d’un vallon, xx, MGSm Saarbrücken (iR94). Compare: BJ1894-61, 1883, La Vieille sente, aux Grès. (aR9=iR19). Note: there is a Rue du Gré in Auvers-sur-Oise.

7IE-1882-198, Nature morte
This work is left out by Berson, which means that there were no reviews (R90II,p214). As a very uncertain option I render: 1880-90, Still-life with a glass, 13×22, private (R272,no24).

7IE-1882-199, Plaine de Rueil
Berson refers to the reviews of Hustin (2x) and Sallanches (R90II,p214). Hustin just mentioned the title (R90I,p395/6). Sallanches calls it ‘well illuminated’ (R90I,p412). Rueil-Malmaison lies north-east of Bougival and Le Celle-Saint-Cloud. As an uncertain option I render: 1878-85, Factories at Nanterre, 22×33, MF Aix-les-Bains (iR94;R272,p8;M13), Nanterres lies just north of Rueil-Malmaison (iR9).

7IE-1882-200, La Seine à Port Marly
Berson refers to the reviews of La Fare and Hustin (2x) (R90II,p214), but this could also refer to no.191. Hustin just mentioned the title (R90I,p395/6), so does La Fare (R90I,p401). As an uncertain option I suggest: GP1919/12/01-218, Déchargement au bord d’un canel, 45×65, Sbl, (Hazard coll) (aR18=iR19;R232;R272,p30). It depicts the old paper factory to the left and the washhouse to the right, also many times depicted by Pissarro (R116,CCP229+236) and Sisley (R129,CR72+160+177+326). Note: no.191 has the same title, so does 5IE-1881-155. The suggestions I make are interchangeable.

7IE-1882-201, Étude d’arbres (Île de Croissy)
This work is left out by Berson, which means that there were no reviews (R90II,p214). As an uncertain option I render: 18xx, L’isle de Croissy, peupliers, 44×33, A1999/06/28 (iR13).

7IE-1882-202, Les chaumières
This work is left out by Berson, which means that there were no reviews (R90II,p214). As uncertain options I render: 18xx, Garden in the Village (Jardin devant le village; les chaumières), 33×41, A2014/05/16 (iR2;iR11;iR13) =? HD1913/12/17-85, Les chaumières (iR40); and: 18xx, Sbr, La Vie Champêtre (La Maison de Guillaume et Danielle), 33×46, A2021/04/17 (iR17) and: 18xx, Sbr, Maisons dans la forêt, 46×56, A1987/10/21 (iR13); =?? GP1919/12/01-243, Le potager derrière la maisonnette, 46×55, Sbr (Former Hazard collection) (aR18=iR19;R232;R272,p30).

7IE-1882-203, Étude, quatre crayons
Berson refers to the review of de Nivelle (R90II,p214), who reviewed ‘M. Vignon, the criminal author of a study with four pencils, the head of a teenager who would have been happy with only one, so much it looks martyred, almost spread out, in a word drawn with four pencils’ (no.203). I couldn’t find a suggestion.

 

The 8th ‘impressionist’ exposition of 1886:

General overview:

• catalogue numbers 218-234ter
• no. 234 had two extensions bis and ter; no. 233 was left out
• so in total Vignon exhibited in 1886 18 works, including 1x chemin vert, 4x a footpath (220, 222, 234bis, 234ter).
  • 17x time indication of place, including 5x Auvers (no 219, 223, 225, 234, 234bis), 5x Jouy (no. 219, 221, 224, 226, 229), 2x Chaponval (222, 234ter)
  • 7x indication of time, season or weather
  • 1x a study
  • 4x loans (appartient à…): M Brulé (no.229), M. Beauvais (no. 230), M André (no. 232), M. Aubry (no. 234)
• Moffett does not render one suggestion (R2,p447), nor does Berson (R90II,p254+278).
• see link for the pictures
• see link for a topographical overview
• see link for a thematical overview

General reviews:
Félix Fénénon (1886/06-13-20) reviewed: ‘Mr. Paul-Victor Vignon, a very lingering impressionist who, for years, has been piling up rocks, trees and houses in invariable and dull compositions.’ (R90I,p442;R9;R88).
Henry Fèvre (1886/05-06) reviewed ‘M. Vignon puts much less emphasis on his light than his colleagues; his ardour is also less blurred; intransigence is blunt. Besides, M. Vignon does not serve us nature in a roast, on a scorching midday, but he gives it to us in herbs, surprising his landscapes clearly and freshly, a hillside full of crops (no.226), a mill (no.221), a chapel (no.218 / 224), a farm, in a silky morning air (no.229), in a pitiful and debilitating flash of March (no.218), in an atmosphere that is always subdued, at the hours and times of shyness when the sun is blinking.’ (R90I,p446).
Gustave Geffroy (1886/05/26) reviewed ‘M. Paul Vignon is also an emotional and sincere landscaper, a breed that is becoming rare. He frequents Jouy, Auvers-sur-Oise, Vaux-sur-Oise; he loves the hills that stand like walls, the paths cluttered with vegetation, the streets of hamlets all green with grass. What beautiful and melancholy things this Côte Saint-Nicolas en hiver (no.219), this Côteau des Grande-Nises (no.226)! What sweet peace and quiet in this Val-Hermay (no.231) with its bluish houses.’ (R90I,p450).

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

8IE-1886-218, L’Église de Jouy, effet de soleil, mars
Compare no. 224. Berson refers to the review of Fèvre (R90II,p254), who according to Berson just calls it a chapel. But a later description more clearly refers to this no. 218: ‘in a pitiful and debilitating flash of March’, adding in general or specific to this number: ‘ in an atmosphere that is always subdued, at the hours and times of shyness when the sun is blinking.’ (R90I,p446). Geffroy referred that Vignon frequented Jouy (R90I,p450). Maybe: 18xx, L’église de Jouy-le-Comte, 33×46, A2010/03/10 (iR11;iR13) =? GP1899/05/04-248, L’Église de Jouy-le-Comte (Vue du chemin du Cimetière), 31×45, former Comte Armand Doria collection (aR14=iR40;R232;R154).

8IE-1886-219, La Côte Saint-Nicolas (hiver), à Auvers-sur-Oise
Berson refers to the review of Geffroy (R90II,p254), who just mentioned part of the title. In general he reviewed: ‘he loves the hills that stand like walls’ (R90I,p450). Maybe: 1883, The Côte Saint-Nicolas at Auvers, 36×44, Copenhagen NCG (R89,p61). This is the same as: BJ1894-59, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise; Appartiennent à M. Roger Marx. (aR9=iR19), and: MJ1914/05/11-81, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise, 35×44, SDbr (BJ1894-expo; former Roger Marx collection) (R272,p30;aR7=iR261). Monneret calls the geometrical composition of this work influenced by Cézanne (R88II,p79).

8IE-1886-220, La Vieille Sente, à Four
Eng.: the old footpath at Four. This work is left out by Berson, which means that there were no reviews (R90II,p254). In general Geffroy reviewed ’the paths cluttered with vegetation, the streets of hamlets all green with grass.’ (R90I,p450). In the sale of the Stumpf collection (1906/05/07) no.89 was: 1884, SDbr, Le vieux chemin à Four, 26×36  (R272,p30). Maybe this was the same work; I will render a black and white picture of it. But in 1881 Vignon also made a work called ‘Le Chemin de Four’ (BJ1894-44; aR9), in 1882 ‘Maison à Four’ (BJ1894-77; aR9). In auction sales 3 times ‘Le chemin de Four à Auvers’ appears, the first two were the same work (GP1900/06/11-99 and GP1906/05/07-88; 32×40/41, Sbl), the latter messured 33×46, but was signed at the right (MJ1914/05/11-82). The black and white copy of the GP1906 work resembles a work that is now called ‘Le chemin de cour’, 34×41, Sbr, which I will render to compare. Note: the title doesn’t seem correct, because there is no rue or chemin de Cour (=courtyard) known in Auvers, so I assume this is a writing error. There also isn’t a small town called ‘Four’. So I assume ‘Four’ was a small hamlet belonging to Auvers-sur-Oise and that there also was a ‘chemin de Four’ (=oven). There now is a larger Rue de Four in Auvers-sur-Oise, still the first part from the Rue François Coppée is quite small (iR9).

8IE-1886-221, L’ancien moulin de Jouy, soleil d’Avril
Berson refers to the review of Fèvre (R90II,p254), who just calls it a ‘mill’ (R90I,p446). Geffroy referred that Vignon frequented Jouy (R90I,p450). To compare I render a watercolour of a watermill: 18xx, le moulin, wc, 28×43, A2015/02/26 (iR11;iR10).

8IE-1886-222, La Sente, à Chaponval
Eng.: footpath at Chaponval. About the same title as 1886-234ter. This work is left out by Berson, which means that there were no reviews (R90II,p254). In general Geffroy reviewed ’the paths cluttered with vegetation, the streets of hamlets all green with grass.’ (R90I,p450). Chaponval was probably in Vignon’s days a hamlet, belonging to Auvers sur Oise (iR9). Nowadays there is a Rue de Chaponval that leads to the Oise (iR9). As an uncertain option I render: 1885ca, Village Street (Rue du village), 38×46, A2005/09/13 (iR2;iR13).

8IE-1886-223, Champs, près la rue Boucher, à Auvers, printemps
This work is left out by Berson, which means that there were no reviews (R90II,p254). See map for the Rue Boucher in Auvers-sur-Oise (iR9). As a very uncertain option I render: 1882, Peasant woman in the fields, 55×66, MF Aix-les-Bains (iR94;R89,p47;R272,p29); and also: 18xx, Sbl, Spring in Auvers sur Oise, 38×46, Fonseca Galerie (iR10). 

8IE-1886-224, Église du Jouy, Mai
Compare no. 218. This work is left out by Berson, which would mean that there were no reviews (R90II,p254). But still Fèvre mentions ‘a chapel’, which according to Berson refers to no. 218. But another description refers clearer to no.218, so that leaves the description ‘a chapel’ to no.224 (R90I,p446). Still, the description ‘chapel’ doesn’t fit the ‘église Saint-Denis’ in Jouy-le-Comte looks like a quit solid church and not like a little chapel (iR4). Geffroy referred that Vignon frequented Jouy (R90I,p450), which lies 8km north of Auves-sur-Oise, see map (iR9). To compare I render: 1885, Village near Auvers-sur-Oise, xx, xx (aR1). Note: the church has similarities with the church of Jouy-le-comte, but the background is (probably) the valley of the Oise instead of hills, that can be seen on no. 218. To compare I also render: 18xx, L’église en Automne, 33×41, H&S1938-23 (R273), a work probably depicting the church of Jouy and resembling other works made in Jouy, but made in Autumn instead of May. 

8IE-1886-225, Près la rue Remy, hiver, Auvers-sur-Oise
This work is left out by Berson, which means that there were no reviews (R90II,p254). In general Geffroy reviewed ’the paths cluttered with vegetation, the streets of hamlets all green with grass.’ (R90I,p450), but this doesn’t probably refer to this winter landscape. To compare I render another work from the rue Remy: 18xx, Rue Remy à Auvers-sur-Oise, 33×47, A2008/12/22 (aR1;iR13), a work that was not done in winter. Compare also BJ1894-225. Trublot, who visited Vignon in 1887 saw a work of him called Rue Rémy, à Auvers and was described as ‘a quiet corner of calmness’ (aR13=iR40). See link for the location of Rue Remy (iR9).

8IE-1886-226, Le coteau des Grandes-Nises, vu du marais, à Jouy
Eng.: The Grandes-Nises hillside, seen from the marsh, in Jouy. Berson refers to the review of Fèvre and Geffroy (R90II,p254). Fèvre describes it as a ‘hillside full of crops’ (R90I,p446). Geffroy just mentioned the first part of the title, but in general he reviewed ‘he loves the hills that stand like walls’ (R90I,p450). I couldn’t find a location called Grandes-Nises. As an uncertain suggestion I render two variations of the same scene: 1886, SDbl, Hameau de Jouy-le-Comte, 33×41, GP1906/05/07-85 Stumpf coll (aR1;aR17); and: 1884-88ca, Sbr, Hameau de Jouy-le-Comte, 33×41, A2020/11/06 (iR45;iR10;aR1).

8IE-1886-227, Maisons, effet du matin
This work is left out by Berson, which means that there were no reviews (R90II,p254). As an uncertain option I render: 1880-90, Landscape in winter (Groupe de maisons), 33×46, A2000/10/24 (R272,no22;iR15;iR64;R273;R2,p447;iR1;R90I,p425) = 18xx, H&S1938-27, Groupe de maisons, 46×38 (R273). More uncertain options are: 1885, Woman in front of a Farm House (farmers wife near the house), 41×32, A2007/03/15 (iR2;iR13); and: 1880s, View of a village in Normandy, xx, Baltimore MA (iR94).

8IE-1886-228, Un chemin vert, à Orrouy
This work is left out by Berson, which means that there were no reviews (R90II,p254). In general Geffroy reviewed ’the paths cluttered with vegetation, the streets of hamlets all green with grass.’ (R90I,p450). At the auction of the Hazard collection (GP1919/12/01-231) there was this work: 1884, L’église d’Orrouy, 32×46, SD-  (aR18=iR19;R232;R272,p30). The date of 1884 makes it an option for 8IE-1886-228. As another uncertain option I render: 18xx, Dans le parc d’Orrouy, 33×41, A1999/03/31 (iR13). See map for the location of église Saint-Remy in Orrouy (iR9). Orrouy lies about 75km north to Paris and that is where Comte Armand Doria also lived (R99I,p203), but there was no work in the posthumous sale of his collection, that resembles no.228 (see below). I know only two titles located in Orrouy, does this mean that Vignon didn’t frequent comte Doria much?

8IE-1886-229, Une ferme, vue du Codru, à Jouy; appartient à M. Brulé
Berson refers to the review of Fèvre (R90II,p254), who calls it ‘a farm, in a silky morning air’ (R90I,p446). Geffroy referred that Vignon frequented Jouy (R90I,p450). I couldn’t find a location called Codru (iR9). As an uncertain option I render: 18xx, Le village de Jouy (-en-Josas), été, 33×46, SM Laren (HW18;iR24) = ?? BJ1894-22, Petite Ferme à Jouy-Le-Comte (aR9=iR19). Compare also: 1895-1900, Le Hameau au Printemps, 33×46, A2018/12/04 (iR2;iR11;iR13), probably depicting the same spot. Another option is: 18xx, Cour de ferme (Farmyard), 47×55, A2019/02/28 (iR13;iR17;iR316). Compare: GP1919/12/01-232, 1875, SDbr, Cour de ferme, 65×55, former Hazard collection (aR18=iR19;R232;R272,p30).

8IE-1886-230, Une carrière, Champagne; esquisse ; appartient à M.  Beauvais
This work is left out by Berson, which means that there were no reviews (R90II,p254). Maybe the same as: BJ1894-33, 1885, Carrières à Champagne; automne; Appartiennent à M. le comte Doria. (aR9=iR19); and: GP1899/05/04-232, 1885, Vaux, près de Champagne (Seine-et-Oise), 35×38 ; 500fr. (former Comte Armand Doria collection) (aR14=iR40;R232;R154). Champagne-sur-Oise lies about 10km north of Auvers-sur-Oise (iR9), I couldn’t find an old quarry in the neighbourhood. To compare I render: 1880-90, Abandoned quarry at Noguets, 46×55, private (R272,no23).

8IE-1886-231, Au Val-Hermay
Berson refers to the review of Geffroy (R90II,p254), who reviewed: ‘What sweet peace and quiet in this Val-Hermay with its bluish houses.’ (R90I,p450). I render: 1885ca, Sbr, The village road, 33×41, A2015/05/15 (iR11;iR15;iR13;iR2), a work that is not located, but that has typical bluish houses and was recently made. Le Valhermeil lies just south of Auvers-sur-Oise (iR9). In titles of Vignon it is written in different ways: Val Hermay, Val-Hermé, Val-Hermoy, Vallermé. See also 7IE-1882-189, Une route au val Hermé, appartient à M. R.

8IE-1886-232, Vaux-sur-Oise ; appartient à M. André
This work is left out by Berson, which means that there were no reviews (R90II,p254). Later she mentions that Edouard-François André (1833-94) was president of the Union des arts décoratifs and co-director of La Chronique des arts et de la curiosité; he also was an art-collector (R90II,p285). Still Geffroy mentioned Vignon frequented Vaux-sur-Oise (R90I,p450). There is a Rue de Vaux in Parmain / Jouy-le-Comte (iR9). Maybe the same work as: BJ1894-78, 1884, Vaux-sur-Oise; Appartiennent à M. le docteur Viau (aR9=iR19). To compare I render: 1894, Hameau de Vaux-sur-Oise, 33×41, A2012/09/22 (iR13). Compare also: BJ1894-30, 1885, La Route de Vaux; effet de soleil, automne (aR9=iR19); and: BJ1894-75, 1885, Chaumières à Vaux; Appartiennent à M. Tavernier (aR9=iR19). As a very uncertain option I also render: 18xx, Rural landscape, 43×51, A2016/12/13 (iR11;iR13).

(8IE-1886-233, left out)
The catalogue doesn’t mention a number 233.

8IE-1886-234, Auvers, la côte ; appartient à M. Aubry
Berson mentions this work is probably the same as in the Aubry sale at Georges Petit 1897/05/10, no.39: 1884, Sbr, La Côte Saint-Nicholas à Auversn (sic), 65×54 (R90II,p254). In general Geffroy reviewed: ‘he loves the hills that stand like walls’ (R90I,p450). Vignon made several works at the Côte Saint-Nicolas, see also no.219. To compare I render: 1883, Saint-Nicolas, vallée de l’Oise, 33×46, A2018/07/08 (iR11) =? BJ1894-59, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise; Appartiennent à M. Roger Marx (aR9=iR19) = MJ1914/05/11-81, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise, 35×44, SDbr (BJ1894-expo; former Roger Marx collection) (R272,p30;aR7=iR261). To compare I also render: 18xx, Sbr, Le bord de l’Oise (banks of the Oise), 50×59, A2017/05/17 (iR11;iR14;iR13;iR2;R2,p447;iR1;R90I,p425), the location seems a bit the same.

8IE-1886-234bis, Sente d’Auvers
Eng.: footpath at Auvers. The same title as 7IE-1882-193. This work is left out by Berson, which means that there were no reviews (R90II,p254). In general Geffroy reviewed ’the paths cluttered with vegetation, the streets of hamlets all green with grass.’ (R90I,p450). Trublot, who visited Vignon in 1887 saw a work of him called ‘Sente d’Auvers and he described it as ‘a wide bird’s eye view’ (aR13=iR40). Maybe it referred to no. 234bis. Maybe this is the same as BJ1921-20, Vue d’Auvers (R272,p31). As an uncertain option I render: 1878-85, Sbl, Landscape at Auvers-sur-Oise (houses in the valley), 34×42, Orsay (iR23;iR127;R272,no10;M1); and also: 1884, L’arbre à l’entrée du village, xx, MF Aix-les-Bains (iR94;M13). 

8IE-1886-234ter, Sente de Chaponval
Eng.: footpath at Chaponval. About the same title as 8IE-1886-222. This work is left out by Berson, which means that there were no reviews (R90II,p254). In general Geffroy reviewed ’the paths cluttered with vegetation, the streets of hamlets all green with grass.’ (R90I,p450). As very uncertain options I render: 1884, Climbing Path on Edge of Village, 38×46, A2011/11/04 (iR2;iR11;iR13); and: 1885 (or 1886), Sbl, Landscape with a carriage, 46×38, A1996/04/30 (R272,p4;iR15). A more certain option is: 18xx, L’entrée du village, 42×34, A2012/12/03 (iR13;R2,p447;iR1;R90I,p425) =? GP1919/12/01-230, Le vieux chemin de Chaponval, 41×32, Sbr (Former Hazard collection) (aR18=iR19;R232;R272,p30) =?? GJ1894-47, 1881, Le Chemin de Chaponval (aR9=iR19).

 

 

Victor-Paul Vignon and the Salon:
There was also a Claude Vignon, a sculptor born in Paris, who exhibited at the Salon and a Henri-François-Jules de Vignon, born in Belfort (Haut-Rhin). There also was a Paul(-Joseph-Victor) Vignon, born in Lyon, who exhibited at the Salon of 1905 and at the SNBA in 1897, 1908 and 1909. (iR1)

S1878-2242, Les châtaigniers, un soir d’hiver
Eng.: chestnut trees, un winter evening.

S1878-2243, La Seine à Bougival, un jour de printemps
Compare: 7IE-1882-195. I suggest: GP1919/12/01-218, Déchargement au bord d’un canel, 45×65, Sbl, (Hazard coll) (aR18=iR19;R232;R272,p30). It depicts the old paper factory to the left and the washhouse to the right, also many times depicted by Pissarro (CCP229+236) and Sisley (CR72+160+177+326) and mostly titled as The Seine near Port-Marly.

 

Victor-Paul Vignon at regional exhibitions:
Vignon sometimes exhibited at regional exhibitions.

Toulouse-1877-294, Paysage (moutons).
Eng.: landscape with sheep.

Besançon-1880-798, Rue de Paris à Clamart.
Note: I can’t find a Rue de Paris in Clamart (iR9).

Besançon-1880-799, Maisons à Rueil.

 

 

1894 solo exhibition:
At the Bernheim-Jeune Gallery in Paris, with 81 paintings, 1 pastel, and 12 catalogue numbers of etchings (aR9=iR19;R3;R272,p7+8), see link for the pictures, see link for a topographical overview and see link for a thematical overview.

BJ1894-1, 1893, Le Chemin des grèves (Septembre 1893)
The meaning of grèves is unsure, there are several locations in France called Grèves, so I assume it was a location.

BJ1894-2, 1892, Fontenay-aux-Roses.

BJ1894-3, 1893, Le Hameau de la Folie.

BJ1894-4, 1892, Sur les falaises, près Dieppe.

BJ1894-5, 1893, Bussières.
Bussières lies about 75km east of Paris (iR9)

BJ1894-6, 1893, Derrière la ferme.

BJ1894-7, 1893, La Route du Plessier.
There are several locations that are called Plessier, but it is unclear which one is depicted on this painting.

BJ1894-8, 1893, Les Meules.

BJ1894-9, 1888, Carrières à Nesles.

BJ1894-10, 1887, Falaises de Pourville.

BJ1894-11, 1893, Plaine de Blanzy.

BJ1894-12, 1883, La Rue Remy à Auvers-sur-Oise,

BJ1894-13, La Vieille meule,

BJ1894-14, 1894, Pommes et Poires.

BJ1894-15, 1886, Étude de femme.

BJ1894-16, 1885, Le Clos Pollet.

BJ1894-17, 1887, Étude de roses.

BJ1894-18, 1889, Le Manoir de Saint-Lubin.

BJ1894-19, 1882, Une Sente à Butry.

BJ1894-20, 1891, Route et Église de Penmarc’h.

BJ1894-21, 1882, La sente de Cresne.

BJ1894-22, Petite Ferme à Jouy-Le-Comte,

BJ1894-23, Ravin de Varengeville.

BJ1894-24, Vue de la vallée de Nesles, Appartient à M. A. Alexandre.

BJ1894-25, 1892, Falaises de Pourville,

BJ1894-26, 1875, Rue Saint-Christophe, à Clamart. Appartiennent à M. Cahen

BJ1894-27, 1881, Levée de brouillard à Chaponval,

BJ1894-28, 1884, La Maison du curé à Jouy-le-Comte.

BJ1894-29, Maisons et chaumières à Noroy.

BJ1894-30, 1885, La Route de Vaux; effet de soleil, automne.

BJ1894-31, Église et Village de Jouy; neige.

BJ1894-32, 1889, Entrée d’Hédouville. Août 1889.

BJ1894-33, 1885, Carrières à Champagne; automne; Appartiennent à M. le comte Doria.

BJ1894-34, Effet de neige à Nesles.

BJ1894-35, Étude d’arbres à Jouy-le-Comte.

BJ1894-36, La Route de Lubbeville; impression d‘automne.

BJ1894-37, Effet de neige; chaumières; Appartiennent à M. Guérard.

BJ1894-38, Le Vieux chemin à Saint-Nicolas.

BJ1894-39, Une Rue à Jouy-le-Comte; Appartiennent à M. Get.

BJ1894-40, Les Meules.

BJ1894-41, Chaumière à Saint-Remy.

BJ1894-42, Le Verger; Appartiennent à M. Hessel

BJ1894-43, La Mare; bois de Meudon.
Eng.: The pool (small lake) in the forest of Meudon.

BJ1894-44, 1881, Le Chemin de Four.

BJ1894-45, 1882, La Côte Saint-Nicolas.

BJ1894-46, Maison à Jouy-Ie-Comte.

BJ1894-47, 1881, Le Chemin de Chaponval,

BJ1894-48, 1877, Saulaie à Bougival.

BJ1894-49, Paysannes aux champs; la Causette.
Eng.: Peasant women in the fields; the chat.

BJ1894-50, 1887, Chemin de la plaine de Rochefort; printemps; Appartiennent à M. Hazard.

BJ1894-51, La Neige, Appartient à M. Raymond Levy.

BJ1894-52, 1877, La Route de la Jonchère à la Celle-Saint-Cloud.

BJ1894-53, 1878, Nature morte avec pommes.

BJ1894-54, 1878, Nature morte avec oranges; Appartiennent à M. Lucas.

BJ1894-55, 1877, La Seine à Bougival; Appartient à M. Ravaut

BJ1894-56, 1883, La Route; Appartient à M. Léon Reiss.

BJ1894-57, 1882, Masures à Auvers-sur-Oise.
Eng.: dilapidated house; Nl.: bouwvallig huis.

BJ1894-58, 1883, Village de Champagne.

BJ1894-59, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise; Appartiennent à M. Roger Marx.
Now: 1883, The Côte Saint-Nicolas at Auvers, 36×44, Copenhagen NCG (R89,p61). The same as: MJ1914/05/11-81, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise, 35×44, SDbr (BJ1894-expo; former Roger Marx collection) (R272,p30;aR7=iR261). Maybe the same as: BJ1894-59, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise; Appartiennent à M. Roger Marx. (aR9=iR19).

BJ1894-60, 1883, Route du Val-Hermay ; automne.

BJ1894-61, 1883, La Vieille sente, aux Grès.

BJ1894-62, 1882, La Route de Pontoise à Auvers.

BJ1894-63, 1878, Hameau des Gressets; Appartiennent à M. Rouart.

BJ1894-64, 1885, Le Clos Pollet.

BJ1894-65, 1890, Notre-Dame vue du pont d’Austerlitz,

BJ1894-66, 1889, Entrée de Nesles.

BJ1894-67, 1891, Falaises de Dieppe.

BJ1894-68, 1872, Une Rue à Noroy.

BJ1894-69, 1892, Ravin à Varengeville.

BJ1894-70, 1884, Jouy-le-Comte; Maison.

BJ1894-71, 1891, Le Chemin Vert à Clamart.

BJ1894-72, 1888, Cavée d’Hédouville.

BJ1894-73, 1887, La Chaumière.

BJ1894-74, 1891, La Soupe de la Bigourdine.
The meaning is obscure. Maybe the soup made by Bigrourdine?

BJ1894-75, 1885, Chaumières à Vaux; Appartiennent à M. Tavernier

BJ1894-76, 1876, Le Chemin de Saint-Michel à Montbuisson.

BJ1894-77, 1882, Maison à Four.

BJ1894-78, 1884, Vaux-sur-Oise; Appartiennent à M. le docteur Viau

BJ1894-79, Clair de lune à Billancourt.

BJ1894-80, La Rue Saint-Christophe à Clamart,

BJ1894-81, La Châtaigneraie de la Jonchère; Appartiennent à Mme de Villers.
Eng.: the Chestnut forest at la Jonchère.

pastel:

BJ1894-82, En bateau; femme de marinier (étude)

eaux-fortes:

BJ1894-83, Deux Natures mortes.

BJ1894-84, Gueulbée et balai, chat.
Eng.: Mushroom and broom, cat.

BJ1894-85, Nature morte.

BJ1894-86, Vaches. (État.)

BJ1894-87, Vaches. (En rouge.)

BJ1894-88, Le Manoir. (2 états.)

BJ1894-89, La Jeune Fille au pigeon. (Croquis.)

BJ1894-90, La Chaumière.

BJ1894-91, Ferme; intérieur de cour.

BJ1894-92, Vaches. (Contre épreuve.)

BJ1894-93, La Vieille aux lunettes. [Pointe sèche.)

BJ1894-94, La Vache laitière. (Eau-forte aquateintée.)
Eng.: The Dairy Cow. (Watercolour etching.) Compare: 1893 (or 1870ca), Vache au paturage, etch, 43×60, VGM Amsterdam (iR10;iR23;M73;M179).

 

Other exhibitions:
There were some other exhibitions in and out of France, wherein Vignon participated, see link for the pictures, see link for a topographical overview and see link for a thematical overview.

1907/12-10-31, Galerie Eugène Blot (=GEB1907) ‘Exposition de Cent Vingt tableautins, peintures, aquarelles, pastels et dessins’, Paris:
GEB1907/12/10-117, Paysage, painting (aR7=iR261)

1911/04/? – 05/14: exhibition of the collection of Maurice Masson at the Paul Cassirer Gallery in Berlin (aR7=iR261):
Berlin1911-34, Der Weg (the road)

1912: Exhibition of 100 years of French Painting in Saint-Petersburg (=GP1912):
Saint-Petersbourg-1912-81, Paysage, 34×42 (aR7=iR261)

1912: Sommaire des Peintures et Sculptures de l’École Contemporaine exposées dans les Galeries du Musée National du Luxembourg (=MNL1912) (aR7=iR261)
MNL1912-503, Paysage, 34×22, don de MM. Bernheim-Jeune (aR7=iR261)

1921/03/06 – 04/16: posthumous exhibition at the Bernheim-Jeune Gallery of 47 works by Vignon (=BJ1921) (R272,p8+31)
See the thematical and topographical overview of titles of his works.

1927/03/19 – 04/15: posthumous exhibition at the Jacques Callot Gallery of 30 works by Vignon (=JC1927) (R272,p8):
See the thematical and topographical overview of titles of his works.

 

 

Vignon in auction sales (as part of private collections):
There were many auction sales of private collections in which works of Vignon were exhibited, see link for the pictures, see link for a topographical overview and see link for a thematical overview.

General auctions of ’tableaux modernes’ at Hôtel Drouot (=HD):

HD1880/02/06-191, Culture à Montesson, offert par le Comte Borio (iR40)

HD1880/02/06-192, Paysage (iR40)

HD1893/03/20-140, Le verger, 46×55, Sr  (former Ricada collection) (iR40;R240)

HD1893/03/20-141, Le pommier, paysage, 46×56, Sl, 400fr (former Ricada collection) (iR40;R240)

HD1893/03/20-142, Paysage, effet d’automne, 46×38, Sr, 810fr (former Ricada collection) (iR40;R240)

HD1911/03/10-47, Bords de rivière, 31×45 (iR40)

HD1904/05/04-45, Les Moulineaux (iR40)

HD1908/02/29-55, Le village au fond de la vallée (iR40)

HD1908/03/18-89, Nature morte (iR40)

HD1910/05/28-59, La route descendante au flanc de la colline, 37×46, Sl (iR40)

HD1911/03/25-66, Sentier dans le fôret, 55×40, Sbl (iR40)

HD1911/03/25-67, Le Clos-Pollet (Jouy-le-Comte), 33×42, Sbr (iR40)

HD1911/03/25-69, L’Appentis, 32×41, Sbr (iR40)

HD1911/03/25-68, Le chemin du hameau, 39×47, Sbl  (iR40)

HD1911/03/25-70, Nature Morte, 29×45, S-, VV? (iR40)

HD1911/11/17-63, L’église; Nature mortes, 3 pl(anches), S+ (etchings) (iR40)

HD1913/04/11-108, Le hameau de Lesville, 46×55, Sbr, 150fr (iR40)

HD1913/04/11-109, 1887, Les falaises de Varengeville, 55×65, SDbr, 102fr (iR40)

HD1913/06/10-91, Vue de Meudon (iR40)

HD1913/11/05-82, Nature morte (iR40)

HD1913/12/17-85, Les chaumières (iR40)

HD1913/12/17-86, Le village de Nesle-la-Vallée, près de Valmondois  (iR40)

HD1914/04/03-90, Rue de Village, 46×55  (iR40)

HD1914/04/03-91, Entrée de village d’Hadricourt (Seine-et-Oise), 55×65  (iR40)

HD1914/06/19-89, Paysanne au repos (iR40)

HD1914/06/19-90, Hameau du Val Hermoy (iR40)

 

1897/05/10: posthumously and anonymously sale of the collection of P. Aubry at Georges Petit:
Contained 6 paintings by Vignon, including
GP1897/05/10-39, La Côte Saint-Nicolas à Anvers (sic), SDbr 1884 (65x54cm).

 

1899/05/04+05: sale of the collection of M. le Comte Armand Doria at Georges Petit (=GP) (aR14=iR40;R232;R154):

GP1899/05/04-229, Château de Croissy, 16×24 ; 260fr

GP1899/05/04-230, Noroy (Aisne), 31×39 ; 540fr.

GP1899/05/04-231, Sucrier et oranges, 34×45, 230fr.

GP1899/05/04-232, 1885, Vaux, près de Champagne (Seine-et-Oise), 35×38 ; 500fr.

GP1899/05/04-233, Chaumières à Chenival, 31×44 ; 820fr.

GP1899/05/04-234, Chemin du Cimetière, à Jouy-le-Comte (Seine-et-Oise), 45×37 ; 700fr.

GP1899/05/04-235, Vallée du Saussiron, vue de la plaine de Fontenille, 31×39 ; 400fr.

GP1899/05/04-236, Le chemin des vignes, à Hédouville (Seine-et-Oise), 31×46 ; 620fr.

GP1899/05/04-237, La maison du père Mayeux, à Varengeville, 37×45 ; 650fr.

GP1899/05/04-238, Plaine des Chaînes, près Val-Hermay, 31×44 ; 420fr.

GP1899/05/04-239, Pot et fruits, 32×41 ; 310fr.

GP1899/05/04-240, Dans la prairie (Saint-Waast, près la Ferté-Milon), on panel, 20×27 ; 150fr.

GP1899/05/04-241, Les Saules, 15×24 ; 135fr.

GP1899/05/04-242, Hameau de Vaux, près de Champagne (Seine-et-Oise), 31×46 ; 450fr.

GP1899/05/04-243, Les falaises de Varangeville, 53×54 ; 600fr.
Note: meant is Varengeville.

GP1899/05/04-244, Jouy-le-Comte (Seine-et-Oise), 31×45, 500fr. ;

GP1899/05/04-245, Jouy-le-Comte (La Cavée), 36×45 ; 440fr.

GP1899/05/04-246, Saint-Nicolas, effet de brouillard (Vallée de l’Oise), 31×45 ; 560fr.

GP1899/05/04-247, 1886, Parmain (Seine-et-Oise), 26×34 ; 350fr.

GP1899/05/04-248, L’Église de Jouy-le-Comte (Vue du chemin du Cimetière), 31×45 ; 710fr.

GP1899/05/04-249, Femme épluchant des pommes de terre, 38×45 ; 275fr.

GP1899/05/04-250, Le chemin de la plaine de Fontenelle, 31×44 ; 450fr.

 

1900/06/11, sale of the collection of M. Charles G. at Georges Petit (=GP)  (aR15=iR40)

GP1900/06/11-92, Vaucouleurs, 45×38 ; 205fr.
Vaucouleurs lies about 300km east of Paris (iR9).

GP1900/06/11-93, Eglise et rue de la Folie, printemps, 32×40 ; 300fr.

GP1900/06/11-94, Le clocher au printemps, 32×40 ; 200fr.

GP1900/06/11-95, Les pommes et le cruchon, 31×41 ; 250fr.

GP1900/06/11-96, La meule, le chemin de Chenivat, plaine de Nesle, 33×41 ; 150fr.

GP1900/06/11-97, Meule dans la plaine d’Anicourt, 38×46 ; 280fr.

GP1900/06/11-98, Le chemin menant à Auvers-sur-Oise, 46×55 ; 920fr.

GP1900/06/11-99, Le chemin de Four, à Auvers-sur-Oise, 32×40 ; 500fr.

GP1900/06/11-100, Le chemin de la plaine de Lesville, 46×55 ; 285fr.

GP1900/06/11-101, 1871, Rochers à Pen’mark, 16×24 ; 45fr

GP1900/06/11-102, Nature morte, 12×19 ; 75fr.

GP1900/06/11-103, Pêches et raisins, 31×42 ; 580fr.

 

1901/04/23: auction of the collection of M. H. P… at Hôtel Drouot (aR11=iR40):

HD1901/04/23-18, Le chemin du village, 46×55, Sbl, 820fr.
Additional info : La route dessine une courbe, au milieu de prés verts. Au fond, bordant le tournant de la route, les premières maisons du village. A droite, une paysanne, assise sur l’herbe, près d’un arbre, cause avec une autre femme debout devant elle. A gauche, vers le fond, le terrain se relève en une colline plantée de quelques arbres, dont les panaches de feuilles se dressent sous le ciel bleu, égayé de quelques nuages blancs. (Eng.: The road curves through green meadows. In the background, bordering the bend in the road, the first houses of the village. On the right, a peasant woman, sitting on the grass, near a tree, is talking with another woman standing in front of her. To the left, towards the end, the land rises into a hill planted with a few trees, whose leafy plumes rise up under the blue sky, brightened by a few white clouds.). Now: 18xx, Entrance of a village, 47×56, H&S1993/03/24 (iR13;aR11).

HD1901/04/23-19, 1885, Église de Jouy, 40×33, SDbr, 580fr.
Additional info : A gauche, sur le chemin rocailleux, une paysanne s’en vient, son tablier à demi relevé, sa tête protégée par un fichu rouge. Derrière elle, au-dessus d’un pli de terrain, on aperçoit le clocher de l’église aux fenêtres romanes. A droite, un massif d’arbres, aux branches dépouillées, cache en partie les toits de tuiles brunes des maisons du village. Le ciel est chargé de nuages gris. (Eng.: To the left, on the rocky path, a peasant woman comes along, her apron half raised, her head protected by a red kerchief. Behind her, above a fold in the ground, we see the church tower with its Romanesque windows. To the right, a clump of trees, with bare branches, partially hides the brown tiled roofs of the village houses. The sky is full of grey clouds.) Note: I couldn’t find a picture that comes near.

 

1903/03/23 : auction at Hôtel Drouot of the collection of Madame L*** and M. Adolphe T*** (aR10=iR40;R241):

HD1903/03/23-5, Le vieux chemin de l’église à Oinville (S.-et-O); 54×63, Sbl  (former Madame L*** collection).
Additional info: Le vieux chemin descend entre des talus couverts de broussailles. A droite, un grand arbre depouillé de ses feuillages. Au fond, le village et une double ligne de coteaux. (Eng.: The old path descends between brush-covered embankments. On the right, a large tree stripped of its foliage. In the background, the village and a double line of hills.) Note: I couldn’t find a picture that comes close.

HD1903/03/23-6, Le chemin tournant, 38×55, Sbr  (former Madame L*** collection).
Additional info: Un chemin, avec talus à droite et bouquets d’arbres, s’éloigne vers l’horizon. Un mur à demi démoli, à gauche. Au loin, une prairie, un village et une ligne de coteaux. (préparé au plâtre et colle). (Eng.: A path, with an embankment on the right and clumps of trees, leads away towards the horizon. A half-demolished wall on the left. In the distance, a meadow, a village and a line of hills. (prepared with plaster and glue). Note: I couldn’t find a picture that comes close.

HD1903/03/23-7, Les meules, 50×65, Sbl  (former Madame L*** collection).
Additional info: Dans un champ, une haute meule étayée par deux épieux. Plus loin, à droite, d’autres meules de chaque côté d’un chemin qui s’éloigne vers un petit bois. A gauche, une série de lotissements de terres labourées ou tapissées d’herbes. Ciel d’été avec quelques bandeaux de nuages. (Eng.: In a field, a high haystack supported by two stakes. Further on, to the right, other haystacks on either side of a path that leads away to a small wood. To the left, a series of ploughed or grass-covered allotments. Summer sky with a few bands of clouds.) Note: I couldn’t find a picture that comes close.

HD1903/03/23-33, Portrait de jeune fille — La Bretonne, 81×64, Stl  (former M. Adolphe T***collection).
Additional info: Assise de face. Elle a un corsage de velours noir à bandes horizontales, une jupe bleue et une chemisette blanche. A son bonnet, un ruban rouge qui pend sur l’épaule gauche. (Eng.: Seated in front. She has a black velvet bodice with horizontal stripes, a blue skirt and a white blouse. On her cap, a red ribbon hangs over her left shoulder.) Now: 18xx, Fillette blonde assise, 81×65, A2000/08/17 (iR13;aR1;aR10).

HD1903/03/23-34, Entrée d’Hardricourt (S.-&-O.)., 35×65, Sbl (former M. Adolphe T***collection).
Additional info: Par un matin de soleil pâle, en été, un chemin conduisant au village dont le clocher pointu s’enlève dans un ciel bleu et rose; à gauche, une pente douce gazonnée avec un enclos de pierre où, dans les arbres fruitiers, on voit une maison. Au loin, ligne de côteaux. (Eng.: On a pale sunny morning in summer, a path leading to the village whose pointed bell tower rises into a blue and pink sky; to the left, a gentle grassy slope with a stone enclosure where, among the fruit trees, a house can be seen. In the distance, a line of hills.) Note: I couldn’t find a picture that comes close.

 

1903/05/18: sale of the collection of Arsène Alexandre at the Georges Petit Gallery (=GP) including 8 works of Vignon (R272,p7+30;aR12=iR40;R232):

GP1903/05/18-66, Le vieux chemin à Auvers-sur-Oise, 38×47, Sbl, ill.
Additional info: 790fr, Georges Petit. Chemin tournant, ombrage, avec, il droite, une maisonnette. Oeuvre d’une grande franchise et d’un beau sentiment rustique. (Eng.: Turning path, shading, with a small house on the right. Work of great frankness and beautiful rustic feeling.) Note: no work fully fits this description.

GP1903/05/18-67, Le village de Nesles (-la-Vallée), 38×47, Sbl
Additional info: 890fr, Georges Petit. La rue principale de Nesle-la-Vallée, près de Valmondois. Au premier plan, une femme en capuchon rouge, vue de dos, accoudée a un parapet, regarde la rue du village. (Eng.: The main street of Nesle-la-Vallée, near Valmondois. In the foreground, a woman in a red bonnet, seen from the back, leaning on a little wall, looking at the village street.) Note: I couldn’t find a picture that comes close.

GP1903/05/18-68, Le vallon vert, 46×56, Sbl
Additional info: 240fr. De grands prés vallonnés avec bétail paissant. Au fond, encore baignés dans les brumes du matin et légèrement scintillants, des rideaux d’arbres et un château. Peinture d’une coloration très particulière dans l’oeuvre de l’artiste. (Eng.: Large rolling meadows with grazing cattle. In the background, still bathed in the morning mist and slightly glittering, curtains of trees and a castle. A painting of a very particular colouring in the artist’s work.) Note: no work fully fits this description.

GP1903/05/18-69, Nesles-la-Vallée, 38×55, Sbr, ill.
Compare no. 67. Additional info: 690, Georges Petit. Le village, vu de haut, s’étendant parmi les champs aux intenses colorations de l’été. Au premier plan, chemin creux; beau ciel bleu avec nuages blancs. (Eng.: The village, seen from above, stretching out among the fields with the intense summer colours. In the foreground, a sunken road; beautiful blue sky with white clouds.) Note: I couldn’t find a picture that comes close.

GP1903/05/18-70, La falaise, 54×65, Sbl
Additional info: 115fr, Vollar(?). Une falaise abrupte, au flanc déchiré et rugueux, mais à la partie supérieure tapissée d’herbe fraîche, domine la mer bleu- qui s’étend tout en bas et au loin, semé çà et là de petites barques aux voiles blanches. (Eng.: A steep cliff, with a rough and torn side, but with the upper part covered with fresh grass, dominates the blue sea – which stretches out below and in the distance, dotted here and there with small boats with white sails.) Maybe: 18xx, Les Falaises de Pourville, 54×65, A2011/08/15 (iR11;iR13).

GP1903/05/18-71, Coin d’intérieur dans une ferme à Noroy-sur-Ourcq (Aisne), 30×23, Sbr
Additional info: 260fr, Islen(?). Intimité à la hollandaise, représentant une femme assise près d’une table, bassine de fer blanc, etc. ; batterie de cuisine au mur ; au fond, fenêtre avec rideaux tamisant finement la lumière. (Eng.: Intimacy in the Dutch style, representing a woman seated at a table, tin basin, etc.; kitchen utensils on the wall; in the background, a window with curtains finely filtering the light.) Note: I couldn’t find a picture that comes close.

GP1903/05/18-72, Nature morte, pommes dans un tamis, 33×40 (not : 30×23 ?), Sbl
Additional info: 170fr. Viau. Eng.: Still life, apples in a sieve. Note: I couldn’t find a picture that comes close.

GP1903/05/18-73, Nature morte, les pommes, 39×46, Sbl
Additional info: 170fr, Viau. Sur une table, des pommes rouges près d’un pichet de faïence bleue a fleurs blanches. Excellente nature-morte, de même que la précédente. (Eng.: On a table, red apples next to a blue earthenware pitcher with white flowers. Excellent still life, like the previous one.) Note: I couldn’t find a picture that comes close.

 

1905/04/10: sale of the collection of M. Louis Flornoy at Hôtel Drouot (iR40;R240):

HD1905/04/10-45, Passage d’hiver, Soleil couchant, 32×41, Sr. 200fr  (iR40;R240)
Bordée de murs, la route conduisant au village que l’on aperçoit au fond est couverte de neige. A droite, au delà du mur, une maison de campagne détache sa silhouette sur le ciel gris. (Eng.: The road leading to the village, which can be seen in the background, is snow-covered and lined with walls. On the right, beyond the wall, a country house stands out against the grey sky.) Now: 1880-85, Sbr, Entrance of the village (bourg) under the snow, 32×41, A2002 (R272,no16;iR14;iR13;iR2).

HD1905/04/10-46, Entrée de village, 33×41, Sl, 180fr Jacobi  (iR40;R240)

HD1905/04/10-47, Bords de la Seine, 27×40, Sl, 550fr Stumpf  (iR40;R240)
Maybe: 18xx, Sbl, A1938-25, Bords de la Seine, 27×40 (R273) = Maybe: BJ1894-55, 1877, La Seine à Bougival; Appartient à M. Ravaut.

 

1906/05/07: sale of the collection of M. F. Stumpf at the Georges Petit Gallery (=GP1906/05/07) (R272,p5+7+30):

GP1906/05/07-84, La maison isolée, effect de neige, 42×33, Sbl, ill. (aR17=iR40;R232;R272,p30)
Additional info: C’est l’hiver. Dans la rue qui monte, une paysanne, qui vient de puiser un seau d’eau, suit le sillon tracé par les passants précédents. A droite, un mur, une porte. A. gauche, un talus aux herbes chauves planté d’arbres aux branches dépouillées. Au tournant du chemin, une habitation se dresse avec un escalier latéral qui domine le mur de clôture. Ciel gris. (Eng.: It is winter. In the street going up, a peasant woman, who has just drawn a bucket of water, follows the path traced by the previous passers-by. To the right, a wall, a door. To the left, a bald grass bank planted with trees with bare branches. At the bend in the path, a house stands with a side staircase that dominates the enclosure wall. Grey sky.) Compare: 1886, Winter morning, 46×38, A2020/03/17 (iR17;aR18) = GP19191201-219, 1884(?), Maison du cantonnier, à Jouy. Note: Vignon several times depicted this ‘maison du cantonnier’ (Eng.: roadmender’s house), mostly in winter.

GP1906/05/07-85, 1886, Hameau de Jouy-le-Comte, 33×41, SDbl , ill.  (aR17=iR40;R232;R272,p30)
Additional info: Au flanc du coteau, le hameau dresse ses maisons et dessine sa rue entre deux longs murs. A gauche, à l’extrémité d’un sentier plus bas que les maisons, un lavoir communal. Plus bas encore, dans les premiers plans, une paysanne ramasse du bois mort; elle est debout contre un des arbres qui se dressent sur la pente verte. (Eng.: On the hillside, the hamlet erects its houses and draws its street between two long walls. To the left, at the end of a path lower than the houses, a communal washhouse. Further down, in the foreground, a peasant woman is collecting dead wood; she is standing against one of the trees that stand on the green slope.) See illustration from the catalogue: 1886, SDbl, Hameau de Jouy-le-Comte, 33×41, xx (aR1;aR17). Compare: 1884-88ca, Sbr, Hameau de Jouy-le-Comte, 33×41, A2020/11/06 (iR10;iR45;aR1).

GP1906/05/07-86, Hameau de Bonneville (La Bonneville), 38×46, Sbr, ill.  (aR17=iR40;R232;R272,p30)
Additional info: C’est au commencement du printemps, par un matin clair: un soleil frais caresse les murs des fermes qui se trouvent à droite et vers le fond. Dans le pré, aux herbes qui croissent d’un vert tendre, un sentier est tracé que suit une paysanne portant un panier au bras droit et un autre sous le bras gauche. A gauche, un arbre aux branches dépouillées semble mort dans cette nature qui s’éveille. Le ciel est bleu, avec quelques nuages blancs. (Eng.: It is early spring on a clear morning: a fresh sun is caressing the walls of the farmhouses to the right and towards the back. In the meadow, with soft green grass growing, a path is marked out which a peasant woman follows, carrying a basket on her right arm and another under her left arm. To the left, a tree with bare branches looks dead in this awakening nature. The sky is blue, with a few white clouds. See illustration from the catalogue: 18xx, Sbr, Le Hameau de Bonneville, 38×46, xx (aR1;aR17).

GP1906/05/07-87, La Route, 33×41, Sbl; ill.  (aR17=iR40;R232;R272,p30)
Additional info: A gauche, au bord de la route, le hameau entasse ses maisons, que domine le petit clocher de l’église. A droite, c’est la campagne avec des buissons. Au premier plan, à gauche, un gamin devant une haie se tient debout, et, de sa main gauche levée, se fait une visière contre le soleil. Au fond, à droite, on aperçoit, dans une ambiance claire, la cime des arbres d’un bois. (Eng.: On the left, at the edge of the road, the hamlet piles up its houses, dominated by the small church tower. On the right, the countryside with bushes. In the foreground, on the left, a boy stands in front of a hedge and, with his left hand raised, shields himself from the sun. In the background, on the right, the tree tops of a wood can be seen in a clear atmosphere.) See illustration from the catalogue: 18xx, La Route, xx, xx (aR1;aR17)

GP1906/05/07-88, Le chemin de Four à Auvers, 32×41, Sbl, ill. (aR17=iR40;R232;R272,p30)
Additional info: A gauche, le chemin qui monte. A droite, à mi-côte, des constructions coiffées de tuiles rouges, au-dessus desquelles on aperçoit le clocher de l’église. Une femme en marmotte blanche et rouge monte la côte plantée d’arbres. C’est l’hiver : les branches sont dépouillées, et dans le ciel clair cependant, les nuages sont balayés par la rafale. (Eng.: On the left, the path climbs. On the right, halfway up the hill, buildings topped with red tiles, above which the church tower can be seen. A woman in a white and red marmot climbs the hillside planted with trees. It is winter: the branches are bare, and in the clear sky, however, the clouds are swept away by the gust.) See illustration from the catalogue: 18xx, Sbl, Le Chemin de cour à Auvers, 32×41, xx (aR1;aR17) . Compare: 18xx, Sbr, Le chemin de cour (The Road, Auvers sur Oise), 34×41, A2018/03/21 (iR2;iR13;iR11;aR1). Note: the difference between ‘four’ (Eng.: oven) en ‘cour’ (Eng.: courtyard). Note: I couldn’t find a picture that comes close.

GP1906/05/07-89, 1884, Le vieux chemin à Four, 26×36, SDbr   (aR17=iR40;R232;R272,p30) (compare no. 88+95)
Additional info: Entre les masures coiffées de chaume ou de tuiles brunes, le chemin serpente, montrant son sol dont les pas ont usé l’herbe. Une femme le suit en caraco noir, capeline blanche et tablier de toile bise, un panier au bras droit. A gauche, des bruyères sont plantées au pied d’un mur. A droite, un massif d’arbres se dresse devant un autre mur. Au fond, plus haut que les toitures, un arbre aux branches orphelines de feuilles se dresse sur un fond de ciel bleu illuminé de soleil blanc. (Eng.: Between the thatched or brown-tiled farmhouses, the path winds along, showing its ground whose footsteps have worn away the grass. A woman follows it in a black camisole, a white cape and a beige apron, a basket on her right arm. On the left, heathers are planted at the foot of a wall. To the right, a clump of trees stands in front of another wall. In the background, higher than the roofs, a tree with leafless branches stands against a background of blue sky illuminated by white sun.)

GP1906/05/07-90, 1887, Le Clos Pollet, 32×41, SDbr  (aR17=iR40;R232;R272,p30) (compare no.92)
See link for location north of Paris (iR9). Additional info: Le clos, bordé d’une haie, est entouré des fermes basses aux toitures rouges ou brunes. Sur le sol, dont l’herbe a été fauchée, se dresse un pommier aux branches capricieusement torturées et dépouillées de feuilles. Dans le clos, une paysanne, vue de dos, s’éloigne vers la droite. Elle est vêtue d’un caraco noir, d’une jupe brune protégée par un tablier bleu et coiffée d’un fichu rose. Quelques nuées blanches s’envolent au-devant du ciel bleu. (Eng.: The hedged enclosure is surrounded by low farms with red or brown roofs. On the ground, where the grass has been mown, stands an apple tree with capriciously tortured branches and stripped of leaves. A peasant woman, seen from behind, is walking away to the right. She is dressed in a black camisole, a brown skirt protected by a blue apron and wearing a pink kerchief. A few white clouds are flying in front of the blue sky.) This work was part of the exhibition in Amsterdam in 1938: 1887, Le clos en hiver, 33×42, H&S1938-34 (R273). Note that the signature is at the bottom left and the date at the right.

GP1906/05/07-91, Verger abandonné, Jouy-le-Comte, 31×41, Sbl  (aR17=iR40;R232;R272,p30)
Additional info: Dans le verger abandonné, que domine un arbre, les ceps ont monté, le sol est hérissé d’herbes drues. Une paysanne en tablier bleu, corsage brun, pèlerine noire et madras rouge, vient y faire du bois mort : c’est l’hiver. Plus haut que les branches, on aperçoit les maisons, puis le clocher de l’église, puis le flanc d’un coteau. (Eng.: In the abandoned orchard, dominated by a tree, the vines (or: ploughwood) have grown up, the ground is bristling with rough grass. A peasant woman in a blue apron, brown blouse, black cape and red madras comes to collect dead wood: it’s winter. Higher than the branches, we can see the houses, then the church tower, then the hillside.) Probably exhibited in 1938 in Amsterdam: 18xx, Sbl, L’église en Automne, 33×41, H&S1938-23 (R273;aR17).

GP1906/05/07-92, Le Clos Pollet, 33×42, Sbl (aR17=iR40;R232;R272,p30)
No additional info. Compare no. 90.

GP1906/05/07-93, L’automne au village, 33×46, Sbr  (aR17=iR40;R232;R272,p30)
No additional info.

GP1906/05/07-94, La Grande Rue au village, 39×47, Sbl  (aR17=iR40;R232;R272,p30)
No additional info.

GP1906/05/07-95, Le chemin de four à Auvers, 31×40, Sbl  (aR17=iR40;R232;R272,p30) (compare no. 88+89)
Additional info: Les maisons sont alignées au pied du coteau, aux flancs duquel les cultures s’indiquent en leurs harmonies variées de ton. Le chemin qui débouche d’une ruelle se continue à travers un pré et deux paysannes s’avancent, la première coiffée d’un fichu rouge et portant un panier au bras gauche. Le ciel bleu, marqué de nuées blanches, est traversé par un vol d’oiseaux. (Eng.: The houses are lined up at the foot of the hillside, on the sides of which the crops are visible in their varied harmonies of tone. The path that emerges from an alleyway continues through a meadow and two peasant women walk forward, the first wearing a red kerchief and carrying a basket on her left arm. The blue sky, marked by white clouds, is crossed by a flock of birds.) Note: I couldn’t find a picture that comes close.

GP1906/05/07-96, Le repos de la paysanne, 53×63, Sbr  (aR17=iR40;R232;R272,p30)
Additional info: Au bord du chemin, sous-bois, la paysanne s’est assise sur un banc de gazon. Elle est vue de trois quarts à droite, en jupe noire, abritée par un tablier bleu et en caraco gris. Un châle de laine lui sert de mantille sur ses cheveux châtain clair. Elle s’appuie des deux mains sur le sol. Près d’elle, un panier qu’elle a rempli d’herbes et de fleurettes. Sa silhouette se détache sur un rideau d’arbres au feuillage léger. (Eng.: At the edge of the path, undergrowth, the peasant woman is sitting on a grass bench. She is seen from three quarters to the right, in a black skirt, covered by a blue apron and a grey camisole. A woollen shawl serves as a mantilla over her light brown hair. She leans with both hands on the floor. Next to her is a basket that she has filled with herbs and flowers. Her figure stands out against a curtain of trees with light foliage.) Compare: 18xx, Paysage de campagne avec une jeune fille de repos (spring on the edge of the village), 46×55, A2015/11/13 (iR11;iR13;iR2).

GP1906/05/07-97, Soleil matin, 52×63, Sbl  (aR17=iR40;R232;R272,p30)
Additional info: Le chemin se dessine entre les maisonnettes, séparées l’une de l’autre par des massifs de verdure. A droite, le long du mur exposé au soleil levant, une clarté blonde vient chanter sur le crépit fruste. Dans le ciel bleu, quelques nuages planent, blancs, ourlés de lumière. (Eng.: The path winds its way between the small houses, separated from each other by clumps of greenery. On the right, along the wall exposed to the rising sun, a blond light sings on the rough plaster. In the blue sky, a few clouds hover, white, hemmed in with light.) Note: no work fully fits this description.

 

1907/03/21+22: sale of the collection of George Viau at the Durand-Ruel Gallery (=DR1907/03/21) (R272,p7+30;R244;iR261;iR272):

DR1907/03/21-84, Le chemin de Saint-Michel à Montbuisson, 46×55, Sbl, ill.
Additional info: Au premier plan, à droite du chemin, un talus où quelques arbustes et des broussailles bordent la clôture treillagée d’un jardin attenant aux maisons du village. A gauche, un mur longe le chemin où une paysanne, accompagnée d’un garçonnet, cause avec une dame en robe grise, coiffée d’un chapeau de paille à fleurs rouges. Ciel bleu où deux peupliers dominent de leur cime élancée les verdures d’un parc que l’on aperçoit dans le fond du paysage.  (R272,p30;aR7=iR261) (Eng.: In the foreground, to the right of the road, an embankment where a few shrubs and bushes border the trellised fence of a garden adjoining the village houses. On the left, a wall runs along the path where a peasant woman, accompanied by a boy, is talking with a lady in a grey dress, wearing a straw hat with red flowers. The sky is blue, with two poplars towering above the greenery of a park that can be seen in the background.)

DR1907/03/21-85, Nature morte, pommes et pot de lait, 38×46, Sbl (R272,p30;aR7=iR261)

DR1907/03/21-86, Nature morte, sucrier, tasse , orange ouverte, couteau, 34×46, Sbr, ill.
Additional info: EU1900-660; former Doria and Viau collection. Sur une table couverte d’une nappe blanche, un couteau à manche d’ébène près d’une orange entamée dont plusieurs quartiers sont épars près de quelques brioches. Un grand sucrier de cristal et une tasse avec soucoupe se détachent sur la tenture, striée de bandes verticales, qui couvre le mur du fond. (R272,p30;aR7=iR261). (Eng.: On a table covered with a white tablecloth, an ebony-handled knife stands next to a half-finished orange, several wedges of which are scattered near some buns. A large crystal sugar bowl and a cup with saucer stand out against the wall hanging, streaked with vertical stripes, which covers the back wall.)

DR1907/03/21-87, Paysage, environs de Nesles-la-Vallée, 27×41, Sbl, ill.
Additional info: En bonnet blanc, un foulard de laine rouge au cou et un panier au bras, une paysanne traverse le terrain accidenté du premier plan où les arbres sont déjà dégarnis par l’automne. Plus loin, les maisons du village abritées par les collines dont le sommet limite le fond du paysage. (R272,p30+no12=1878-85, Surroundings of Nesle-la-Vallée, 27×41, private;aR7=iR261) (Eng.: In a white bonnet, with a red woollen scarf around her neck and a basket in her arm, a peasant woman crosses the rugged terrain in the foreground, where the trees have already been cleared by autumn. In the distance, the houses of the village are sheltered by the hills, whose summits limit the background of the landscape.)

DR1907/03/21-88, Paysage, 27×41, S-
Additional info: Au premier plan, une prairie, limitée à gauche par un mur de clôture abritant un jardin. Vers le fond, quelques bâtiments espacés et vus de profil. Ciel nuageux. (R272,p30;aR7=iR261) (Eng.: In the foreground, a meadow, bounded on the left by a garden fence. In the background, a few buildings spaced out and seen in profile. Cloudy sky.)

DR1907/03/21-89, Nature morte, fromage, radis et pot d’étain (avec oignons à la pelure dorée), 32×40, Sbl
Additional info: former Doria and Viau collection. A droite, sur une table de cuisine, des radis roses et un pot d’étain près de quelques oignons à la pelure dorée. A gauche, un fromage sur son paillasson.  (R272,p30;aR7=iR261) (Eng.: On the right, on a kitchen table, pink radishes and a pewter pot next to some golden skinned onions. On the left, a cheese on its mat.)

DR1907/03/21-90, Nature morte, Pommes et noix, 24×33, Sbr
(R272,p30+no9=1878-82, Still-life with apples and nuts, 24×33, private;aR7=iR261)

 

1910/11/22+23: sale of the M. Albert Bernier collection at Hôtel Drouot (=HD) in Paris (aR7=iR261):

HD1910/11/22-52, 1887, Pourville, 38×46, SDbl
Une maison rouge sur la falaise broussailleuse. A l’arrière-plan des falaises. Des voiliers, dans le fond, à gauche. (aR7=iR261) (Eng.: A red house on the scrubby cliff. In the background the cliffs. Sailing boats in the background, on the left.)

HD1910/11/22-53, La table de travail, 24×32, Sl
(Une natte au mur. Devant, la table, avec livres, encrier, papier, cire.) (aR7=iR261) (Eng.: A mat on the wall. In front of it, the table, with books, inkwell, paper, wax).

 

1911/05/29: sale of the collection of the widow of Victor Vignon at Hôtel Drouot in Paris (=HD1911/05/29) (aR6=iR40):

HD1911/05/29-12, 1894, S-, Devant l’âtre, paysanne se chauffant, 46×55, (aR6=iR40)
Eng.: In front of the hearth, a peasant woman warming herself.

HD1911/05/29-13, 18xx, S-, Une rue à Mondétour, 38×46, (aR6=iR40)

HD1911/05/29-14, 1886, Sr, Paysage, Jouy-le-Comte, on carton, 24×33, (aR6=iR40)

HD1911/05/29-15, 1872, SDl, Intérieur d’une maison de garde au Petit-Bicêtre, on panel, 24×32, (aR6=iR40)

HD1911/05/29-16, 1874, S-, Paysage à Pendepie, 15×29, (aR6=iR40)

HD1911/05/29-17, 18xx, Sr, Paysage avec figure, on carton, 26×21, (aR6=iR40)

HD1911/05/29-18, 18xx, Sl, Jeune Garçon dans un jardin, 26×20, (aR6=iR40)

HD1911/05/29-19, 18xx, Sr, La plaine de Rochefort (Seine-et-Oise), 16×22, (aR6=iR40)

HD1911/05/29-20, 18xx, Sl-monogram, Femme et enfant, on panel, 13×10, (aR6=iR40)

HD1911/05/29-27, 18xx, Str, Tête de femme, pastel, 31×24, (aR6=iR40)

HD1911/05/29-28, 18xx, S-, Jeune paysan, buste, pastel, 23×22, (aR6=iR40)

HD1911/05/29-29, 18xx, Sr-monogram, Au cellier, dr, 23×21 (aR6=iR40)
Eng.: in the cellar.

HD1911/05/29-30, 18xx, Sl, Entrée de village, dr, 19×17, (aR6=iR40)

 

1914/05/11+12: sale of the collection of Roger Marx at the Manzi Joyant Gallery (R272,p30;R245;iR261;aR7=iR261):

MJ1914/05/11-80, Les Masures, près Auvers-sur-Oise, 33×41, Sbr
Additional info: Un sentier, longeant un mur de clôture qui monte vers la gauche, aboutit à un pignon lézardé à côté duquel on aperçoit une maison au toit couvert de tuiles rouges, puis une autre dont la couverture est en ruines. Au-delà du mur, en contrebas, les maisons du village et un jardin que traverse une femme. Ciel nuageux. (R272,p30;aR7=iR261). Eng.: A path, along a fence wall that rises to the left, leads to a cracked facade next to which one can see a house with a red-tiled roof, then another whose roof is in ruins. Beyond the wall, below, the houses of the village and a garden crossed by a woman. Cloudy sky. Compare: BJ1894-57, 1882, Masures à Auvers-sur-Oise. (aR9=iR19). Note: I can’t find a work that comes close.

MJ1914/05/11-81, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise, 35×44, SDbr
Additional info: BJ1894-expo; former Roger Marx collection. Au premier plan, les terres labourées limitées à gauche par un verger où une chèvre broute l’herbe au pied d’un grand arbre. Au delà d’un mur, les maisons du village ; plus loin, sous le ciel où passent quelques nuages blancs, les vallonnements de la côte Saint-Nicolas montant en pente douce. (R272,p30;aR7=iR261). Now: 1883, The Côte Saint-Nicolas at Auvers, 36×44, Copenhagen NCG (R89,p61). The same as: BJ1894-59, 1883, La Côte Saint-Nicolas à Auvers-sur-Oise; Appartiennent à M. Roger Marx. (aR9=iR19). Maybe also the same as: 8IE-1886-219, La Côte Saint-Nicolas (hiver), à Auvers-sur-Oise (R2,p447;iR1;R90II,p254).

MJ1914/05/11-82, Le chemin de Four à Auvers, 33×46, Sbr
Additional info: former Roger Marx collection. Le chemin qui tourne vers la gauche conduit au hameau dont les maisons longent, au fond, les deux côtés du site. A gauche, en bordure du chemin, un arbre dénudé. A droite, les champs labourés. Au delà du hameau, le chemin monte jusqu’au sommet des coteaux. (R272,p30;aR7=iR261). Eng.: The path that turns to the left leads to the hamlet whose houses line both sides of the site at the bottom. On the left, at the edge of the path, a bare tree. To the right, ploughed fields. Beyond the hamlet, the path climbs to the top of the hills. Compare: GP1900/06/11-99, Le chemin de Four, à Auvers-sur-Oise, 32×40 ; 500fr. (former Charles G. collection) (iR40); and: GP1906/05/07-88, Le chemin de four à Auvers, 32×41, Sbl, ill. (former Stumpf collection) (R272,p30). Note: I can’t find a work that comes close.

1914/06/12+13: second sale of the collection of Roger Marx at Hôtel Drouot (R272,p30):

HD1914/06/12-74, Paysage (Auvers-sur-Oise), 29×46, Sbl; 205fr Camentron (R272,p30)

HD1914/06/12-75, Le vieux chemin de Chouy à Noroy-sur-Ourcq (Aisne), 15×27, Sbr, 50fr (R272,p30)

HD1914/06/12-76, L’église de Champagne (Seine-et-Oise), 32×41, Sbr, 350fr Beurdeley  (R272,p30)

 

1915/03/15+16: sale at Hôtel Drouot (=HD) ‘Tableaux Modernes. Aquarelles – Pastels – Dessins’ (aR7=iR261)

HD1915/03/15-77, Nature morte: fromage, 32×41, Sbl  (aR7=iR261)

 

1919/12/01+02+03: first sale of the collection of Hazard at the Georges Petit Gallery (=GP), with 35 works of Vignon (aR17=iR40;R232;R272,p30):

GP1919/12/01-215, Les moissonneurs, 38×46, Sbl, ill  (R272,p30)
Additional info: 5600fr, M. Binoche. Dans le champ, près du carré aux épis mûrs, deux paysannes sont arrêtées; l’une est assise sur une botte d’herbe, son panier près d’elle, et parle avec l’autre, debout devant elle, les mains aux hanches. Ciel bleu, avec de légers nuages blancs. (Eng.: In the field, near the square with the ripe ears of corn, two peasant women are stopped; one is sitting on a bunch of grass, her basket close to her, and is talking with the other, standing in front of her, her hands on her hips. The sky is blue, with light white clouds.) Now: 1880ca, Les moissonneuses, xx, CM Utrecht (iR6;M75) =GP1919-215, Les moissonneurs, 38×46, Sbl, (Hazard) (aR18=iR19;R232;R272,p30).

GP1919/12/01-216, Les maisons brûlées à Auvers, 33×40, Sbl, ill (R272,p30)
Additional info: 1700fr, G. Petit. Ces maisons, qui s’alignent le long d’un sentier serpentin, apparaissent dans un décor de verdure. A gauche, un talus à pente assez rude; à droite, quelques arbres. Au milieu du sentier, deux paysannes sont arrêtées, debout, et causent. (Eng.: These houses, which line up along a winding path, appear in a green setting. On the left, a rather steep slope; on the right, a few trees. In the middle of the path, two peasant women are standing and talking.) I render the reproduction that is in the catalogue: GP19191201-216, Les maisons brûlées à Auvers, 33×40, Sbl, (Hazard coll) (aR18=iR19;R232;R272,p30).

GP1919/12/01-217, Chemin à la sortie du hameau, 38×46, Sbr ill (R272,p30)
Additional info: 3400fr, Georges Bernheim. Le long du chemin, quelques maisonnettes aux toits de tuiles rouges ou brunes, entre lesquelles le terrain herbeux est parfois planté d’arbres. A droite, le sol se relève en un talus dominé par un bouquet de peupliers. Sur le chemin, une paysanne s’avance, coiffée d’une pointe rouge dont les pans tombent sur la poitrine. (Eng.: Along the path, a few small houses with red or brown tile roofs, between which the grassy ground is sometimes planted with trees. On the right, the ground rises into a slope dominated by a bunch of poplars. On the path, a peasant woman walks forward, wearing a red peak whose flaps fall on her chest.) Now: 18xx, Chemin à la boue (A peasant woman in a village street), 38×46, A2021/09/23 (iR17;aR18).

GP1919/12/01-218, Déchargement au bord d’un canel (certainement l’Oise en amont de Pontoise), 45×65, Sbl, ill (R272,p30)
Additional info: 2700fr, G. Petit. Un tournant du canal. A gauche, le long du quai, les  chalands sont amarrés, et des hommes s’emploient à les décharger. A droite, près de l’autre rive, boisée, un  bateau-lavoir est installé. Au fond, au-dessus d’une ligne de coteaux, plane un ciel bleu, marqué d’une chevauchée de nuages blancs. (Eng.: A bend in the canal. On the left, along the quay, barges are moored and men are busy unloading them. On the right, near the other bank, which is wooded, a wash boat is set up. In the background, above a line of hills, a blue sky hovers, marked by a ride of white clouds.) I render the picture from the catalogue: GP1919/12/01-218, Déchargement au bord d’un canel, 45×65, Sbl, (Hazard coll) (aR18=iR19;R232;R272,p30).

GP1919/12/01-219, Maison du cantonnier, à Jouy, 46×38, Sbl, ill  (R272,p30)
Additional info: 3200fr, Jallard. C’est l’hiver : le sol est couvert de neige. Par le chemin qui tourne entre un talus et des murs bas, une paysanne s’avance, tenant un panier de la main droite. Au fond, une maison se dresse au bord du chemin : elle a des volets verts. Ciel clair. (Eng.: It is winter: the ground is covered with snow. A peasant woman walks along the path between an embankment and low walls, holding a basket in her right hand. In the background, a house stands at the edge of the path: it has green shutters. The sky is clear.) Now: 1886, Winter morning, 46×38, A2020/03/17 (iR17;aR18=iR19;R232;R272,p30).

GP1919/12/01-220, Chemin de la briqueterie à Herrouville (Seine-et-Oise), 46×55, ill (R272,p30)
Additional info: 2800, Jallard. A droite et à gauche, deux talus vêtus d’herbe et plantés de quelques arbres. Entre les deux passe le chemin, sur lequel s’avance une paysanne. Au fond, des maisons coiffées de tuiles rouges et brunes. (Eng.: To the right and left, two grassy embankments with a few trees. Between the two, the road passes, on which a peasant woman walks. In the background, houses with red and brown tiles.) I render the work that is in the catalogue: GP19191201-220, Chemin de la briqueterie à Herrouville (Seine-et-Oise), 46×55, (Hazard coll) (aR18=iR19;R232;R272,p30).

GP1919/12/01-221, La Ruelle, 47×38, Sbl  (R272,p30)
Additional info: 1050fr.

GP1919/12/01-222, Casserole de cuivre, cruche et oignons sur une nappe blanche, 15×25, Sbl  (R272,p30)
Additional info: 400fr, Gerard Pres(?). Eng.: Copper pot, jug and onions on a white tablecloth. Now probably: 18xx, Sbl, Nature morte, on panel, 14×25, A2017/11/22 (iR11;iR13;aR1).

GP1919/12/01-223, Effet de neige dans un coin de banlieue, 25×33, Sbr (R272,p30)
Additional info: 1750fr, Durand-Ruel. Probably: 18xx, Snow effect in a suburb, Sbr, 25×33, CAI Williamstown (iR94;M26).

GP1919/12/01-224, La Rue de Clamart, 37×33, Sbr  (R272,p30)
Additional info: 1000fr, G.Petit. Une rue droite, bordée de vieilles maisons. Ciel clair, qui répand une lumière blonde. (Eng.: A straight street, lined with old houses. Clear sky, spreading a blond light.) I couldn’t find a work that comes close.

GP1919/12/01-225, Arbre fruitier à la fin de l’automne, 40×32, Sbr (R272,p30)
Additional info: 1700fr, G. Petit. Maybe?: 18xx, Sbr, Rural landscape, 40×33, A2018/11/21 (iR11;iR13)

GP1919/12/01-226, Hameau de Vaux-sur-Oise, 32×41, Sbl (R272,p30)
Additional info: 1800fr. Maybe: 1894, Sbl, Hameau de Vaux-sur-Oise, 33×41, A2012/09/22 (iR13;iR17).

GP1919/12/01-227, La Seine à Billancourt, 32×41, Sbr (R272,p30)
Additional info: 900fr, Jallard. Maybe?: 18xx, La Seine à Billancourt, 32×41, A2005/06/22 (iR13) = maybe?: BJ1921-15, La Seine à Billancourt (R272,p31).

GP1919/12/01-228, Le chemin dans la forêt au printemps, 32×21, Sbr  (R272,p30)
Additional info: 1700fr, Felix Gerard(?).

GP1919/12/01-229, 1890, La Cueillette des pois, 32×41, SDbl (R272,p30)
Additional info: 1450fr, Gerard Pres(?).

GP1919/12/01-230, Le vieux chemin de Chaponval, 41×32, Sbr (R272,p30)
Additional info: 1600fr, G. Petit.

GP1919/12/01-231, 1884, L’église d’Orrouy, 32×46, SD- (R272,p30)
Additional info: 2200fr, G. Bernheim.

GP1919/12/01-232, 1875, Cour de ferme, 65×55, SDbr  (R272,p30)
Additional info: 500fr, Petit. Compare: 18xx, Cour de ferme, 47×55, A2019/02/28 (iR13;iR17;iR316).

GP1919/12/01-233, Viande crue dans une assiette de faïence, 18×25, Sbl (R272,p30)
Additional info: 110fr, G. Petit. Eng.: Raw meat on an earthenware plate. Compare: 1880-90, Still-life with piece of meat and onions, 25×40, private (R272,no27).

GP1919/12/01-234, 1880, Portrait de fillette assise, 28×30, SDbr (R272,p30)
Additional info: 160fr, G.Petit. I couldn’t find this work.

GP1919/12/01-235, Église de Jouy-le-Comte, vue du chemin du cimetière, effet de neige, 33×46, Sbl (former Doria and Hazard collection) (R272,p30)
Additional info: 2800fr, G. Petit. Now: 18xx, Sbl, L’église de Jouy-le-Comte, 33×46, A2010/03/10 (iR11;iR13;iR17;aR1) =GP1899/05/04-248, L’Église de Jouy-le-Comte (Vue du chemin du Cimetière), 31×45 (former Doria collection) (aR14=iR40;R232;R154). Maybe?: BJ1894-31, Église et Village de Jouy; neige. (aR9=iR19).

GP1919/12/01-236, Chemin à Auvers, 32×46, Sbl  (R272,p30)
Additional info: 1500fr. Maybe?: 1878-85, Sbl, Road at Auvers-sur-Oise, 32×46, private (R272,no13).

GP1919/12/01-237, 1887, La maison du père Mahieux à Varengeville, 38×46, SDbl  (R272,p30)
Additional info: 2000fr, Durand-Ruel. I couldn’t find a work that comes close.

GP1919/12/01-238, 1865, Le Printemps à Jouy-le-Comte, 38×46, SDbl (R272,p30)
Additional info: 2000fr. Les maisons sont vues de la Voirie. (Eng.: The houses are seen from the road (network). I couldn’t find a work that comes close.

GP1919/12/01-239, Vieux chemin à Auvers, au soleil, 38×46, Sbr  (R272,p30)
Additional info: 3800fr, G. Petit. Several works come close, but don’t fully fit.

GP1919/12/01-240, L’Automne dans le bois, près de la mare, 38×46, Sbr (R272,p30)
Additional info: 550fr, G. Petit. I couldn’t find a work that comes close.

GP1919/12/01-241, Les Rochers, 38×55, Sbr  (R272,p30)
Additional info: 1000fr, G. Petit. I couldn’t find a work that comes close.

GP1919/12/01-242, 1885, Église de Jouy-le-Comte, 46×55, SDbr (R272,p30)
Additional info: 2800fr, Jallard. C’est le pays où le peintre a vécu plusieurs années; il y habitait la maison que l’on voit à droite. (Eng.: This is the country where the painter lived for several years; he lived in the house on the right) I couldn’t find a work that comes close.

GP1919/12/01-243, Le potager derrière la maisonnette, 46×55, Sbr (R272,p30)
Additional info: 2500fr, G. Petit.

GP1919/12/01-244, 1884, La Côte Saint-Nicolas, 46×56, SDbl  (R272,p30)
Additional info: 3850fr, Munesel Fiquet(?). Les maisons, coiffées de tuiles rouges, s’abritent au pied de la côte, dont les cultures diverses montent vers le ciel bleu ennuagé de blanc. Dans les premiers plans, quelques arbres aux branches dépouillées. Sur la route, le long des maisons, le boulanger a arrêté sa carriole attelée à un cheval blanc. (Eng.: The houses, topped with red tiles, are sheltered at the foot of the hill, whose various crops rise towards the blue sky with white shading. In the foreground, a few trees with bare branches. On the road, alongside the houses, the baker has stopped his cart harnessed to a white horse.) I couldn’t find a work that comes close.

GP1919/12/01-245, Le repos au bord du chemin, 46×55, Sbr  (R272,p30)
Additional info: 4100fr, Munesel Fiquet(?). I couldn’t find a work that comes close.

GP1919/12/01-246, 1887, La Côte des Guichards, Jouy-le-Comte, 54×65, SDbl  (R272,p30)
Additional info: 2500fr, Felix Gerard(?). I couldn’t find a work that comes close.

GP1919/12/01-247, Entrée de la ferme à Noroy, 20×21, Sbr  (R272,p30)
Additional info: 1000fr, Gerard Pres(?). Un chemin entre deux murailles de verdure, puis une construction d’où l’on découvre une vallée et des terres en culture. (Eng.: A path between two green walls, then a building from which one discovers a valley and cultivated lands.) I couldn’t find a work that comes close.

GP1919/12/01-248, Le chemin creux, panneau 15×24, Sbl (R272,p30)
Additional info: 140fr, Bourgest(?). Eng.: the sunken path. I couldn’t find this work.

GP1919/12/01-249, La Récolte, marouflée sur panneau, 35×23, S-  (R272,p30)
Additional info: 500fr, Rietev (?). eng.: the harvest. I couldn’t find a work that comes close.

 

Works of Vignon mentioned in other sources:
1887/09/02: article in ‘Le Cri du peuple’ by Trublot / Paul Alexis  (aR13=iR40):

Early works sold around 1867-70, with (very low) selling prices:

1867-70ca, Table de cuisine, avec poêlons et assiettes, 5fr

1867-70ca, Les fortifications, etude; en échange d’un paletot de 20fr

1867-70ca, Tête de petite fille; 1fr

1867-70ca, Plat de prunes (chez Mayer), 3fr

1867-70ca, Pochade de flears (chez Mayer); 4,75fr
Eng.: a quick sketch of ? (the meaning of flears is unclear)

1867-70ca, Botte de fleurs (chez Mme Michot, rue Clauzel); 3fr

1867-70ca, Une pochade d’Hamlet; 2fr
Eng.: a quick sketch of ?. Maybe the novel Hamlet by Shakespear is meant?

1867-70ca, Nature morte, avec poterie, choux, cuisse de poulet, panier, etc. (chez Basset, rue Mansart); 40fr

Works mentioned in the article 1887/09/02, that were than in Vignon’s possession, with a given description:

Carrières de Parmain
(tourmentees, dechiquetees, douloureuses comme un large blessure) (Eng.: tormented, shredded, painful as a large wound).

Chemin des Pommiers, en hiver (Picardie)
(grandes arbres dans leurs poses variées, quasi humaines; on sent le froid) (Eng.: large trees in their varied, almost human poses; one feels the cold).

Un poirier
(haut et tout seul au milieu d’une large plaine, d’une grandeur mélancolique). (Eng.: high and alone in the middle of a wide plain, with a melancholic grandeur).

Sente d’Auvers
(une large vue à val d’oiseau). (Eng.: a wide bird’s eye view of the valley of the Oise).

Vallon du Vallermé.

Rue Rémy, à Auvers
(un coin d’intimité tranquille). (Eng.: a quiet corner of calmness).

Montrognon, à Champagne.

Six marines toutes recentes, rapportees de Varengeville, où l’artiste va passer quelques semaines tous les ans, including:
Falaises, maison du père Mayeu

Coucher de soleil
(Murer collection?; tragique, avec arbre noir se detachant sur l’horizon accidenté. (Eng.: tragic, with a black tree standing out against the rugged horizon.)
Compare: 18xx, Soleil couchant orageux, effet d’automne (Murer collection; R88II,p79).

Matin
(frais, tendre, délicat, avec une chèvre qui broute à côté d’une femme). (Eng.: fresh, tender, delicate, with a goat grazing next to a woman).
Compare: 18xx, Femme à la chèvre, matin d’hiver (Murer collection; R88II,p79).

 

 

 

Recommanded citation: “Victor Vignon, an account of his exhibited works. Last modified 2023/03/13.  https://www.impressionism.nl/vignon-account/.”