The Origins of the Taste for Barbizon Painting in Britain:
Appendix, Barbizon Works Exhibited at Exhibitions 1–11 of the Society of French Artists, German Gallery, London, 1870–75
by Simon Kelly and Andrew Watson
Simon Kelly is curator and head of the Department of Modern and Contemporary Art at the Saint Louis Art Museum. He has published extensively on nineteenth-century French art, and particularly Barbizon painting, including the book Théodore Rousseau and the Rise of the Modern Art Market: An Avant-Garde Landscape Painter in Nineteenth-Century France (Bloomsbury, 2021). He has also organized many major exhibitions including Millet and Modern Art: From Van Gogh to Dalí (2020) and Matisse and the Sea (2024). He received his PhD from the University of Oxford, where he also taught art history. His research interests have focused on landscape painting, cultural markets, and the history of collecting. He is currently writing a book on the Barbizon painters.
Email the author: simon.kelly[at]slam.org
Andrew Watson, associate lecturer with the Open University, is a specialist in nineteenth-century art, with an emphasis on collecting. He has written extensively on British collectors of French painting, including a book on the remarkable Scottish collector James Duncan of Benmore (1834–1905) and articles for Journal of the Scottish Society for Art History, Cahiers Bruxellois: Revue d’histoire urbaine, Bulletin de la Société des amis du Musée national Eugène Delacroix, The Metropolitan Museum of Art Journal, and Burlington Magazine. In his most recent article (Burlington Magazine, May 2024) he definitively established the early history of Eugène Delacroix’s Death of Sardanapalus. Andrew has written seven entries for Charles Sebag Montefiore’s forthcoming (2027) Dictionary of British Art Collectors: 1600–1939, an online publication that will be hosted by the National Gallery, London.
Email the author: awartstudies1905[at]gmail.com
Citation: Simon Kelly and Andrew Watson, “The Origins of the Taste for Barbizon Painting in Britain: Paul Durand-Ruel’s Exhibitions of the Society of French Artists. Appendix: Barbizon Works Exhibited at Exhibitions 1–11 of the Society of French Artists, German Gallery, London, 1870–75,” Nineteenth-Century Art Worldwide 23, no. 2 (Autumn 2024), https://doi.org/10.29411/ncaw.2024.23.2.3.
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Scholarly Article|Appendix
This list contains catalogue raisonné numbers, when works are identifiable. As there is no catalogue raisonné for Jean-François Millet, identified works by this artist are ascribed current locations or, on occasion, M-N to refer to Étienne Moreau-Nélaton, Millet raconté par lui-même, 3 vols. (Paris: Henri Laurens, 1921). Otherwise, R refers to Alfred Robaut, L’oeuvre de Corot: Catalogue raisonné et illustré, vols. 1–4 (Paris: H. Floury, 1905); Aub. refers to Marie-Madeleine Aubrun, Jules Dupré: Catalogue raisonné de l’oeuvre peint, dessiné et gravé (Paris: Léonce Laget, 1974); Sch. refers to Michel Schulman, Théodore Rousseau: Catalogue raisonné de l’oeuvre peint (Paris: Éditions de l’Amateur, 1999); and H refers to Robert Hellebranth, Charles-François Daubigny, 1817–1878 (Morges, Switzerland: Éditions Matute, 1976).
1870
First Annual Exhibition of the Society of French Artists, German Gallery, London, First Hang, December 1870, incl. Corot (8 works), no. 12, The Nymphs’ Dance (R2002); no. 14, The City of Avray; no. 41, The Neighbourhood of Coubron; no. 48, On the Route; no. 90, The Rivulet; no. 94, A Rivulet; no. 97, La charrette (The Cart); no. 98, Country Scene; Daubigny (8 works), no. 10, On the Banks of the Oise; no. 22, Sunset at Villerville; no. 34, On the Banks of the Oise; no. 45, A Village in Picardie; no. 46, Evening (“Twixt the gloaming and the mirk, When the kye come hame.” Robert Burns); no. 53, The Bank of the Oise; no. 62, The Outskirts of Anvers; no. 71, Country Scene; Diaz de la Peña (3 works), no. 36, untitled; no. 59, The Love of Psyche; no. 72, Forest of Fontainebleau; Dupré (16 works), no. 25, A Marine View (Aub. 578?); no. 28, Night; no. 32, The Pyrenees; no. 33, The Shepherd and His Flock; no. 37, Sunset; no. 44, Outbuilding of a Farm; no. 57, River Scene; no. 63, A Mountain Stream; no. 64, Sunset; no. 68, Morning Effect; no. 69, Near the Isle of Adam; no. 73, The Boat; no. 75, River Scene; no. 77, The Route; no. 99, untitled; no. 100, untitled; Millet (1 work), no. 93, The Lesson; Rousseau (6 works), no. 47, A Grotto on the Sea Shore, Brittany (Sch. 135); no. 61, Morning (Sch. 648); no. 65, Mountains on the Borders of Lake Chambon; no. 66, untitled; no. 70, A Large Forest in Winter (Sch. 374); no. 78, Evening (Sch. 649); Troyon (2 works), no. 74, The Return of the Herd; no. 91, Flock of Sheep.
44 Barbizon pictures of 108 shown.
1871
First Annual Exhibition of the Society of French Artists, German Gallery, London, Second Hang, March 1871, incl. Corot (12 works), no. 14, Ville-d’Avray; no. 48, On the Route; no. 78, Ponds at Ville-d’Avray; no. 80, Evening; no. 90, A Shaded Stream; no. 94, The Walk by the River; no. 95, Outskirts of Coubron; no. 97, A Study; no. 98, Morning, Cattle Watering; no. 131, Morning (from the Collection of Prince Demidoff) (R1634); no. 132, Evening (from the Collection of Prince Demidoff) (R1633); no. 143, The Hayfield; Daubigny (5 works), no. 45, A Village in Picardy; no. 46, Evening (“Twixt the gloaming and the mirk, When the kye come hame.” Robert Burns); no. 53, The Banks of the Oise; no. 62, The Outskirts of Anvers; no. 112, Road Scene; Diaz de la Peña (7 works), no. 10, Bohémiens (Bohemians); no. 44, untitled; no. 66, Venus and Adonis; no. 72, Forest of Fontainebleau; no. 74, Study of a Female Figure in a Wood; no. 119, Diana and Her Nymphs; no. 120, A Country Scene; Dupré (19 works), no. 32, The Pyrénées (Aub. 16); no. 33, The Shepherd and His Flock (Aub. 205?); no. 37, Sunset; no. 57, River Scene; no. 63, A Mountain Stream; no. 64, Sunset; no. 68, Morning Effect; no. 73, The Boat; no. 75, River Scene; no. 77, Evening—Returning Home; no. 114, Sunset at Sea; no. 115, Animals Crossing a River; no. 116, Landscape with Cattle in View; no. 117, Marine View; no. 134, Evening (from the collection of Prince Demidoff) (Aub. 321); no. 135, Morning (from the collection of Prince Demidoff) (Aub. 320); no. 136, The Bridge of the Tuileries; no. 137, Paysage (Landscape); no. 141, Sunset; Millet (3 works), no. 69, Environs of Cherbourg (Minneapolis Institute of Art, 49.5); no. 70, Marine View (Museum of Fine Arts, Boston, 17.1529?); no. 71, Woodcutters in a French Forest (Victoria and Albert Museum, London, CAI.47); Rousseau (8 works), no. 47, A Grotto on the Sea Shore, Brittany (Sch. 135); no. 58, On the Coast of Brittany; no. 59, View in Normandy; no. 60, Granville (Sch. 131?); no. 61, Outskirts of Granville (Sch. 138?); no. 99, Mount St. Michel (Sch. 140); no. 100, Forest of Fontainebleau; no. 111, Barbizon; Troyon (3 works), no. 91, Returning Home from the Fields; no. 125, Herd of Cattle; no. 126, Low Tide. Vessel Stranded.
57 Barbizon pictures of 144 shown.
1871
Second Annual Exhibition of the Society of French Artists, German Gallery, London, April 1871, incl. Corot (21 works), no. 2, Landscape; no. 4, Ville-d’Avray; no. 5, View in the Suburbs of Paris; no. 8, Lake Scene; no. 13, A View from a Hill at Sèvres—Paris in the Distance; no. 15, Ville-d’Avray; no. 21, River Scene; no. 23, The Hill at Sèvres, View of Mont Valérien in the Distance; no. 27, On the Road Home; no. 31, Walk by the River; no. 41, Gathering Sticks; no. 65, Les bûcheronnes (The Woodcutters); no. 66, Coubron; no. 67, River Scene; no. 70, Landscape, Goatherd and Goats; no. 71, Woodland and Stream; no. 72, The Country Road; no. 79, Souvenir de Mellessen (Memory of Mellessen) [sic] (R1370; Musée du Louvre, Paris, RF 1642); no. 80, Early Morning (R1627); no. 81, Métairie (Farm) (R1694); no. 82, Nymphs in a Landscape (R2002); Daubigny (1 work), no. 56, Sunset Effect; Diaz de la Peña (6 works), no. 9, Forest of Fontainebleau; no. 16, Diana and Her Companions; no. 61, Across the Common; no. 92, Forest of Fontainebleau; no. 93, Bohemians; no. 94, In the Woods; Dupré (18 works), no. 19, Cold Weather Effect at Sea; no. 35, Landscape—Evening Effect; no. 39, The Ford; no. 45, Evening—Labourer returning Home; no. 50, A Farm Scene in Normandy (Aub. 77?); no. 52, Mountain Rivulet; no. 53, View in a Flat Country, with Cattle, Farm, Buildings, &c.; no. 69, Sea View; no. 95, River Scene (Aub. 625); no. 96, Banks of the Oise (Aub. 53); no. 97, The Little Bridge (Aub. 119); no. 98, La Barque (The Boat) (Aub. 217?); no. 99, Farm Scene (Aub. 105?); no. 100, La mare aux chênes (The Oak Pond) (Aub. 234); no. 101, The Bridge (Aub. 190); no. 102, Les Landes (The Landes) (Aub. 173); no. 103, La mare (The Pond) (Aub. 313?); no. 104, Sunset (Aub. 91?); Millet (2 works), no. 6, Wood Cutters in a French Forest (Victoria and Albert Museum, London, CAI.47); no. 114, La lessiveuse (The Washerwoman) (Musée du Louvre, Paris, RF 1438); Rousseau (20 works), no. 10, A Grotto on the Sea Shore, Brittany (Sch. 135); no. 14, Road to the Village; no. 25, A Lane Scene with Cottages; no. 32, River Scene; no. 48, A Village in France, near the Coast; no. 49, On the Coast in Brittany; no. 57, Landscape and Cottages; no. 122, Autumn Effect (Sch. 272?); no. 123, Moonlight; no. 124, La prairie (The Meadow); no. 125, The Rivulet (Sch. 524?); no. 126, Coup de soleil (Shaft of Sunlight) (Sch. 305?); no. 127, Les Landes (The Landes) (Sch. 264?); no. 128, Le givre (Hoarfrost) (Sch. 282); no. 129, Le dormoir du Bas Bréau (The Watering Place in the Bas Bréau) (Sch. 195); no. 130, Lisière de bois (Edge of the Wood); no. 131, Métairie (Farm) on the Banks of the Oise (Sch. 522); no. 132, Les bûcherons (The Woodcutters) (Sch. 676); no. 133, Lisière de Clair Bois (Edge of Clair Bois) (Sch. 644); no. 134, Autumn; Troyon (9 works), no. 43, Autumn—The Herd Going Home; no. 54, Shepherd Driving Home His Flock from the Pastures; no. 135, The Ford; no. 136, Shepherd and Sheep; no. 137, Landscape with Cattle; no. 138, The Storm; no. 139, Sunset in a Landscape; no. 140, Hounds; no. 141, Le passage du gué (The Crossing of the Ford).
77 Barbizon pictures of 144 shown.
1872
Third Annual Exhibition of the Society of French Artists, German Gallery, London, February 1872, incl. Corot (12 works), no. 2, Evening (R1642); no. 39, The Hay Cart; no. 49, A Ferry; no. 63, Nymphs; no. 69, On the Sea Shore; no. 73, Nymphs Dancing; no. 77, Cottage by the Seine; no. 82, Birches in the Bois de Boulogne; no. 87, The Road to the Wood; no. 94, In the Roman Campagna; no. 98, Cattle by the River; no. 100, A Marsh; Daubigny (2 works), no. 33, A Grassy Lane; no. 89, Banks of the Cure; Diaz de la Peña (3 works), no. 59, In the Forest, Fontainebleau; no. 101, Apremont, Forest of Fontainebleau; no. 102, Bohemians; Dupré (12 works), no. 3, Sheep in a Storm; no. 5, The Shepherd; no. 22, A Cottage in the Fields; no. 25, A Study; no. 44, A Cottage; no. 60, The Windmill; no. 65, Landscape; no. 68, Cows in a Pond; no. 88, A Flock of Sheep; no. 95, A Fisherman; no. 107, A Pond; no. 109, A Landscape; Millet (2 works), no. 55, Returning Home (M-N, vol. 2, fig. 172?); no. 90, Winter (Belvedere, Vienna, no. 2450); Rousseau (no works); Troyon (no works).
31 Barbizon pictures of 127 works shown.
Fourth Annual Exhibition of the Society of French Artists, German Gallery, London, May 1872, incl. Corot (4 works), no. 48, River Pasture; no. 67, A Pond; no. 73, Village by the Sea; no. 76, Landscape; Daubigny (2 works), no. 12, The Ferry; no. 85, Banks of the Oise; Diaz de la Peña (no works); Dupré (1 work), no. 119, A Pond; Millet (4 works), no. 57, The Sempstress (The Seamstress); no. 62*; no. 122* (The Angelus [Musée d’Orsay, Paris, RF 1877]); no. 125, The Water Carrier (private collection, Japan; published in Robert Herbert, Jean-François Millet [London: Hayward Gallery, 1976], 135–36, no. 83); Rousseau (1 work) no. 13, Village on the Cliffs; Troyon (no works).
*title not listed in the catalogue
12 Barbizon pictures of 128 shown.
Fifth Annual Exhibition of the Society of French Artists, German Gallery, London, September 1872, incl. Corot (2 works), no. 47, A Quiet Lake; no. 52, Autumn—Bathing; Daubigny (2 works), no. 31, Vitry; no. 58, On the Oise—Drawing in the Net; Diaz de la Peña (2 works), no. 43, A Pool in the Forest of Fontainebleau; no. 100, Fontainebleau; Dupré (3 works), no. 48, A Coming Storm; no. 53, Sea Piece; no. 114, The Cart; Millet (4 works), no. 23, Death and the Woodcutter (La Fontaine) (Ny Carlsberg Glyptotek, Copenhagen, MIN 10972); no. 26, The Toilette; no. 50, A Hill-Side by the Coast of Normandy, near Granville (Minneapolis Institute of Art, 49.5); no. 72, Sowing (The Sower) (Yamanashi Prefectural Museum of Art, Kofu); Rousseau (1 work), no. 105, Landscape; Troyon (no works).
14 Barbizon pictures of 140 shown.
1873
Sixth Annual Exhibition of the Society of French Artists, German Gallery, London, March 1873, incl. Corot (7 works), no. 5, The Ferry; no. 21, A Quiet Hamlet; no. 26, Silver Birches; no. 36, Cows by a Pond; no. 53, An Idyl [sic]; no. 57, The Fisherman; no. 62, An Idyl [sic]; Daubigny (2 works), no. 81, La mare aux oies (The Pond with Geese); no. 124, River Scene; Diaz de la Peña (no works); Dupré (6 works), no. 29, At Sea; no. 32, The Brook; no. 55, The Pyrenees; no. 58, The River; no. 88, Southampton Meadows (Aub. 69); no. 94, Cows at a Pond; Jacque (1 work), no. 43, A Shepherdess; Millet (3 works), no. 2, Washing at Home (Musée du Louvre, Paris, RF 1438); no. 17, The Spinning Wheel; no. 31, The Gooseherd (National Museum Wales, NMWA 2479); Rousseau (1 work), no. 24, A Cross-Road; Troyon (1 work), no. 56, After Rain.
21 Barbizon pictures of 139 shown.
Seventh Annual Exhibition of the Society of French Artists, German Gallery, London, November 1873, incl. Corot (8 works), no. 8, A Country Road; no. 24, The Fallen Tree; no. 41, A Village Street; no. 49, A Country Lane; no. 54, The Somme, One Hour before Sunrise; no. 66, Une pastorale (A Pastoral) (R2107); no. 79, The Goatherd; no. 85, A Park Scene; Daubigny (2 works), no. 21, Windmills at Dordrecht, Holland; no. 33, Washing on the Oise; Diaz de la Peña (1 work), no. 65, An Opening in the Forest of Fontainebleau; Dupré (1 work), no. 23, Fishing Boats; Millet (2 works), no. 118, November (destroyed in World War II; M-N, vol. 3, fig. 259); no. 127, The Haymaker; Rousseau (1 work), no. 45, A Farm on the Banks of the Oise (Sch. 522); Troyon (no works).
15 Barbizon pictures of 130 shown.
1874
Eighth Annual Exhibition of the Society of French Artists, German Gallery, London, April 1874, incl. Corot (9 works), no. 28, St. Sebastian (R1063); no. 38, A View of Étretat; no. 43, The Goat-Herd; Evening; no. 48, A Corner of the Forest of Fontainebleau; no. 69, A Monk; no. 73, Dunkirk; no. 84, A Hamlet in Picardy; no. 101, Gathering Flowers; no. 105, The Cow-Herds; Daubigny (3 works), no. 41, St. Paul’s from the Surrey Side (H756); no. 72, A Wood near Vilerville [sic]; no. 92, Low Tide at Vilervile [sic]; Diaz de la Peña (no works); Dupré (1 work), no. 52, Fishing Boats at Sea; Jacque (1 work), no. 58, The Shepherd; Millet (1 work), no. 81, The Young Mother (Frick Collection, New York, 1906.1.89); Rousseau (1 work), no. 97, The Mill Dam (Sch. 5?); Troyon (no works).
16 Barbizon pictures of 161 shown.
Ninth Annual Exhibition of the Society of French Artists, German Gallery, London, November 1874, incl. Corot (9 works), no. 1, A Lane in Picardy; no. 22, Outskirts of a Wood; no. 33, The Windmill; no. 48, Canal Scene, Holland; no. 67, Dante and Virgil (R1099); no. 77, Haymaking; no. 108, A Woman Leading a Cow; no. 112, Silver Birches; no. 139, Bay of Naples; Daubigny (4 works), no. 59, On the Banks of the Oise; no. 63, The Thames below Greenwich; no. 97, The Cooper (H498; Sotheby’s Beijing, June 22, 2012, lot 7); no. 147, On the Oise, near Clermont; Diaz de la Peña (no works); Dupré (2 works), no. 32, Road near L’Isle-Adam; no. 55, A Land Storm; Millet (14 works), no. 52, The Old Stone House (private collection, US); no. 126, The New-Born Calf (Worcester Art Museum, 1974.329); no. 127, The Goatherd; no. 128, Grain for the Mill; no. 129, Digging Potatoes; no. 130, Peasant Woman and Cow; no. 131, The Angelus (Glasgow [Museums]: Kelvingrove Art Gallery and Museum?); no. 132, Woman Cooking; no. 133, Calling the Cows Home; no. 134, Charity (M-N, vol. 2, fig. 126); no. 135, Men Digging; no. 136, The Wayfarers (National Gallery of Art, Washington, DC, 2014.136.182); no. 137, Planting Beet-Root; no. 138, Churning (Thaw Collection, Morgan Museum and Library, New York, 2017.174); Rousseau (no works); Troyon (1 work), no. 43, Harrowing.
30 Barbizon pictures/drawings of 147 shown.
1875
Tenth Annual Exhibition of the Society of French Artists, German Gallery, London, May 1875, incl. Corot (8 works), no. 23, Evening; no. 34, A Village near Douai; no. 53, The Moat; no. 54, River Scene near Douai; no. 55, The Wall of Corot’s Garden at Ville-d’Avray; no. 56, The Pond at Ville-d’Avray; no. 57, The Ville-d’Avray Wood in Springtime; no. 66, Girl in the Fields; Daubigny (4 works), no. 8, Spring; no. 21, Village on the Oise; no. 51, A Normandy Orchard; no. 71, Cows on the Hill Side; Diaz de la Peña (1 work), no. 48, Eastern Girls; Dupré (3 works), no. 15, Fishing Boats; no. 31, The Storm; no. 43, The Pond; Jacque (1 work), no. 24, A Shepherdess; Millet (1 work*); Rousseau (no works); Troyon (1 work), no. 22, The Shepherd’s Dog.
*not listed in the catalogue
19 Barbizon pictures of 122 shown.
Eleventh Annual Exhibition of the Society of French Artists, German Gallery, London, November 1875, incl. Corot (9 works), no. 2, View from the Cliffs at Dieppe; no. 30, La Rochelle; no. 35, A Windy Day; no. 38, A Country Lane; no. 45, The Mouth of the Seine; no. 49, A Tanner’s Yard (R2177); no. 57, The Lake of Némi (R1636); no. 88, The Pond at Ville-d’Avray; no. 122, Near Arras; Daubigny (2 works), no. 23, Wood in Valmondois; no. 111, A River in Holland; Diaz de la Peña (no works); Dupré (no works); Millet (no works); Rousseau (no works); Troyon (no works).
11 Barbizon pictures of 126 shown.