A Ravine: Souvenir of Algeria
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Salon of 1874, Room no. 10, Palais des Champs-Élysées, Paris, opened May 1, 1874, no. 756, as Un ravin; – souvenir d’Algérie.
Exposition des Œuvres de Eugène Fromentin, École nationale des Beaux-Arts, Paris, March 1877, no. 10, as Un Ravin; souvenir d’Algérie, Arabes faisant boire leurs chevaux.
Exposition rétrospective de tableaux et dessins des maîtres modernes, Galerie Durand-Ruel, Paris, opened June 20, 1878, no. 219, as Le Ravin.
Winter Exhibition, Union League, New York, by November 11, 1898, no cat., as The Oasis.
Louisiana Purchase Exposition (St. Louis World’s Fair), St. Louis, MO, April 30-December 1, 1904, no. 69, as Arab Encampment—Gorges of Chiffa.
Winslow Homer and the Critics: Forging a National Art in the 1870s, The Nelson-Atkins Museum of Art, Kansas City, MO, February 18-May 6, 2001; Los Angeles County Museum of Art, June 10-September 9, 2001; High Museum of Art, Atlanta, October 6, 2001-January 6, 2002, (Kansas City only), hors cat.
A Magnificent Age: French Paintings from the Walters Art Museum, June 28-September 7, 2003, The Nelson-Atkins Museum of Art, Kansas City, MO, no cat.
Eugène Fromentin made three trips to Algeria in North Africa between 1846 and 1853. The notes and sketches he made during these expeditions provided a wealth of material for his work. He established himself as an acclaimed Orientalist, a European term to describe writers and artists who took inspiration from the lands of the Middle East, North Africa, and Asia Minor. Using sketches and memories of his travels from more than 20 years earlier, Fromentin created this painting as a romantic reminiscence of a foreign place.
The artist, by May 1, 1874 [1];
Auguste-Etienne-Louis Tabourier (1822-1898) or his son, Louis-Léon-Alexander-Jérôme Tabourier (1858-1897), Paris, by March 1877 [2];
Senator Prosper Crabbe (1827-1889), Brussels;
Eugène Secrétan (1836-1899), Paris, by March 15-July 1, 1889 [3];
Purchased at his sale, The Celebrated Collection of Paintings by Modern and Old Masters and of Water-Colors and Drawings formed by Mr. E. Secrétan, Galerie Charles Sedelmeyer, Paris, July 1, 1889, no. 30, as The Chiffa-Pass (Les Gorges de la Chiffa), by Paul Chevallier, for Boussod, Valadon et Cie, Paris, Goupil Stock Book 12, No. 19942, 1889-March 22, 1892 [4];
Purchased from Boussod, Valadon et Cie by Hector Brame, Paris, March 22, 1892 [5];
Anna Maria Francisca Gabriëlle Van den Eynde (1852-ca. 1926), Brussels, by May 18, 1897;
Purchased at her sale, Catalogue de Tableaux Modernes, Aquarelles, Pastels et Dessins par Axilette, Berne-Bellecour, Billotte, Corot, Daubigny, Decamps, Delacroix, Detaille, Jacque, Diaz, Fromentin, Hébert, Isabey, Jongkind, Leys, Meissonier, Millet, Th. Rousseau, Roybet, Stevens, Tassaert, Troyon, Vollon, Willems; Anciennes Porcelaines de la Chine et du Japon; Garniture de cinq pièces de vieux Chine a fond Capucin; Porcelaines et faïences variées; Douze fauteuils couverts en tapisserie Du temps de Louis XV; Meuble de salon Louis XVI couvert en lampas; Composant la Collection de Mme G. Van den Eynde, Hôtel Drouot, Paris, May 18, 1897, lot 12, as Les Gorges de la Chiffa, by Durand-Ruel, Paris, stock no. 4273, May 18-19, 1897 [6];
Purchased from Durand-Ruel, Paris, by George Jay Gould I (1864-1923), New York and Lakewood, NJ, May 19, 1897-at least March 1914 [7];
With Galerie Georges Petit, by January 1924 [8];
With Albert Duveen, New York, by January 15, 1934;
Purchased from Albert Duveen, through Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1934.
NOTES:
[1] Paul de Saint-Victor, “Salon de 1874: Septième Article (1),” La Liberté (June 16, 1874), notes that the Salon featured “two paintings of his [Fromentin’s] sending.”
[2] Both Tabouriers went by “L. Tabourier.” The elder Tabourier is listed as the owner of Jean-Baptiste-Camille Corot, Le berger sous les arbres (soleil couchant), 1853, published in European Art: Part II, Christie’s, New York, October 31, 2018, lot 106. He owned it between 1881 and October 8, 1887, when he sold it to Boussod, Valadon, et Cie. There is no record of the son being an art collector, and he was only 19 in 1877 when Tabourier owned NAMA’s picture.
[3] Earliest mention of the six Fromentin’s in the Secrétan collection. Albert Wolff, “Courrier de Paris,” Figaro, no. 74 (March 15, 1889): 1.
[4] The painting was bought by the auctioneer Paul Chevallier at this sale. See Goupil Book 12, Stock No. 19942, Page 112, Row 12, The Getty Research Institute, Los Angeles.
[5] See Goupil Book 13, Stock No. 19942, Page 21, Row 5, The Getty Research Institute, Los Angeles.
[6] An annotated sales catalogue from the Getty Research Institute, Los Angeles, records the buyers name as “DRuel.” See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel to Aimee Marcereau DeGalan, NAMA, November 16, 2017, NAMA curatorial file. It was sold on May 19, 1897 to George J. Gould and expedited shortly thereafter to New York. See email from Paul-Louis Durand-Ruel to Glynnis Stevenson, NAMA, January 6, 2020.
[7] The Fromentin hung in the main hall of George J. Gould’s New Jersey residence as of March 1914. See “A Catalogue of Pictures and Objects of Art at Georgian Court, Lakewood, New Jersey, the residence of George J. Gould, Esq. March 1914,” Duveen Brothers Collectors’ Files, ca. 1910-1925: Gould, George J., The Getty Research Institute, Los Angeles.
[8] See Prosper Dorbec, “L’Hellénisme d’Eugène Fromentin,” Gazette des Beaux-Arts 9, no. 743 (January 1924): 33-34, (repro.), as Chevaux à l’abreuvoir. Georges Beaume, Fromentin (Paris: Sociétés des Éditions Louis-Michaud, [1911]), which is an unreliable source, conflates a reproduction of NAMA’s work with either another work exhibited by Georges Petit in 1892, Chevaux à l’abreuvoir from the M. Boucheron collection, or a painting entitled Arabes dans la gorge de la Chiffa from the Paul Lagarde collection exhibited by Petit in 1884 and 1892. Pierre Sanchez, Les expositions de la Galerie Georges Petit (1881-1934): Repertoire des artistes et leurs œuvres, vol. 4 (Paris: L’Echelle de Jacob, 2009), 809. 1924 is the earliest date it is possible for Petit to have owned NAMA’s painting.
Nestor Pauturot, Le Salon de 1874 (Paris: Bureaux du journal le National, 1874), 194, as Ravin en Afrique.
Salon de 1874: Explication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants, exh. cat. (Paris: Imprimerie nationale, 1874), 109 [repr. in H. W. Janson, ed., Catalogues of the Paris Salon 1673-1881, vol. 52 (New York: Garland, 1977) and repr. in Pierre Sanchez and Xavier Seydoux, Les catalogues des salons des beaux-arts (Paris: Échelle de Jacob, 2004)], as Un ravin; –souvenir d’Algérie.
Marc de Montifaud, “Le Salon de 1874,” L’Artiste: Histoire de l’art contemporain 1 (May 1, 1874): 305, as un Ravin.
“Salon de 1874: La Fleur du livret,” Le Petit Journal, no. 4,145 (May 2, 1874): 1, as Un ravin.
Albert Wolff, “Le Salon de 1874: M. Fromentin,” Le Gaulois, no. 2049 (May 24, 1874): unpaginated, as Le Ravin.
Ernest Duvergier de Hauranne, “Le Salon de 1874,” Revue des Deux Mondes 3, no. 3 (June 1, 1874): 682.
Aug. Parmentier, “Salon de 1874,” La Fantaisie parisienne, no. 10 (June 15, 1874): 5, as Ravin.
Paul de Saint-Victor, “Salon de 1874: Septième Article (1),” La Liberté (June 16, 1874): unpaginated, as Ravin.
“Avis,” Le Courrier de la Rochelle, no. 48 (June 17, 1874): 2-3, as Ravin and Souvenirs d’Algérie.
Possibly Un Amateur, “Salon de 1874,” Le Voleur, no. 886 (June 26, 1874): 410, as Souvenir d’Algérie.
Louis Gonse, “Salon de 1874,” Gazette des Beaux-Arts 10, no. 205 (July 1, 1874): 48-49, as le Ravin.
Marc de Montifaud, “Le Salon de 1874: Paysage,” L’Artiste: Histoire de l’art contemporain 2 (July 1, 1874): 16, as Souvenir d’Algérie.
Paul de Saint-Victor, “Le Salon de 1874: Les Paysagistes,” L’Artiste: Histoire de l’art contemporain 2 (August 1, 1874): 80, as Le Ravin.
“Science—Littérature—Beaux-Arts: Revue artistique, Publications d’art,” Journal officiel de la République française, no. 351 (December 23, 1875): 10,686, as le Ravin.
“Notes: Eugène Fromentin,” Art Journal 2 (1876): 352, as Un Ravin. 11/13/19
“Chronique,” La Presse (January 14, 1876): unpaginated, as Ravin.
Jean-Franc̜ois-Marie Bertet-Dupiney de Vorepierre, Dictionnaire des noms propres, ou Encyclopédie illustrée de biographie, de géographie, d'histoire et de mythologie, vol. 1, A-F (Paris: Michel Lévy, 1876), 1618, as Ravin en Algérie.
Louis Gonse, Exposition des œuvres de Eugène Fromentin A [sic] l’École nationale des Beaux-Arts, Quai Malaquais, exh. cat. (Paris: Imprimerie Jules Claye, 1877), 21, 31 chevaux [repr. in Theodore Reff, Modern Art in Paris: Two-Hundred Catalogues of the Major Exhibitions Reproduced in Facsimile in Forty-Seven Volumes, vol. 39 (New York: Garland, 1981)], as Un Ravin; souvenir d’Algérie, Arabes faisant boire leurs.
Lucy H. Hooper, “Art-Notes from Paris,” Art Journal 3 (1877): 189, as Ravine.
Louis Gonse, “Eugène Fromentin: Peintre et écrivain,” Gazette des Beaux-Arts 17 (May 1, 1878): 410, as le Ravin.
Asmodée, “Échos de partout,” La Liberté (June 9, 1878): unpaginated.
“Concours et expositions,” La Chronique des arts et de la curiosité, no. 23 (June 15, 1878): 179.
Exposition rétrospective de tableaux et dessins des maîtres modernes, exh. cat. (Paris: Galerie Durand-Ruel, 1878), 36, as Le Ravin.
Pierre Larousse, Grand Dictionnaire universel du XIXe siècle, vol 16, Supplément (Paris: Administration du Grand Dictionnaire universel, 1878), 856, as Souvenir d’Alger, Un ravin en Algérie.
Clara Erskine Clement Waters and Laurence Hutton, Artists of the Nineteenth Century and their Works, vol. 1 (Boston: Houghton, Osgood, 1879), 275, as A Ravine in Algiers.
Louis Gonse, “Eugène Fromentin: Peintre et écrivain,” Gazette des Beaux-Arts 21 (January 1, 1880): 51-52, as Souvenir d’Algérie.
Gustave Vapereau, Dictionnaire universel des contemporains: contenant toutes les personnes notables de la France et des pays étrangers, 5th ed. (Paris: Librairie Hachette, 1880), 755, as Souvenir d’Algérie, un Ravin.
Louis Gonse, Eugene Fromentin: Peintre et écrivain (Paris: A. Quantin, 1881), 29, 96-97, as Le Ravin.
Nouveau dictionnaire encyclopédique universel illustré: répertoire des connaissances humaines, vol. 3 (Paris: Librairie illustrée, 1885-91), 34, as Ravin en Algérie.
John Denison Champlin and Charles C. Perkins, eds., Cyclopedia of Painters and Paintings, vol. 2 (New York: Charles Scribner’s Sons, 1887), 95, as Ravine.
Albert Wolff, “Courrier de Paris,” Figaro, no. 74 (March 15, 1889): 1.
Emma Bullet, “Passing Paris Topics: Recent Observations Among the Artists,” Brooklyn Daily Eagle 49, no. 103 (April 14, 1889): 9.
“France,” Times (London), no. 32,704 (May 21, 1889): 5.
“The Secrétan Collection,” Morning Post, no. 36,489 (May 29, 1889): 7.
C.M.S., “Gallery and Studio: The Great Secretan [sic] Collection to be Sold in Paris,” Brooklyn Daily Eagle 49, no. 158 (June 9, 1889): 7, as The Gorges of Chiffa.
“The Secretan [sic] Collection,” Boston Globe 35, no. 160 (June 9, 1889): 1.
“Cotton Bagging For Georgia,” Macon Telegraph (June 13, 1889): 4.
“Art,” Churchman 59, no. 24 (June 15, 1889): 749.
C.M.S., “Gallery and Studio: Further Notes on the Secretan [sic] Collection of Pictures,” Brooklyn Daily Eagle 49, no. 165 (June 16, 1889): 6, as Gorge of Chiffa.
“Some Artistic Gems: A Grand Collection of Paintings, the Masterpieces of the Greatest of French Artists; The Dethroned Copper King’s Famous Gallery to Be Dismantled; Some Pictures with Histories,” Pittsburgh Dispatch (June 23, 1889): 9, as Chiffa Pass.
Paul Mantz, “La collection Secrétan,” Le Temps, no. 10,231 (June 29, 1889): unpaginated.
Catalogue of The Celebrated Collection of Paintings by Modern and Old Masters and of Water-Colors and Drawings formed by Mr. E. Secrétan (Paris: Boussod, Valadon, et Sedelmeyer, July 1-4, 1889), xv, 32, (repro.), as The Chiffa-Pass. (Les Gorges de la Chiffa).
Albert Wolff, Edition De Luxe: The Collection of Paintings by Modern and Old Masters and of Water Colors and Drawings Formed by Mr. E. Secrétan, vol. 1 (Paris: Boussod, Valadon, 1889), xv, xvii, 32, (repro.), as The Chiffa-Pass (Les Gorges de la Chiffa).
Alphonse de Calonne, “La collection Secrétan,” L’Artiste: revue de l’art contemporaine 2 (July 1889): 29, as Gorges de la Chiffa.
Henry Fouquier, “Chronique,” La Revue de famille, vol. 1 (July 1, 1889): 382.
“Informations: La vente Secrétan,” Journal des débats politiques et littéraires (July 2, 1889): unpaginated, as Les Gorges de la Chiffa.
“Secretan’s [sic] Art Treasures: Millet’s ‘Evening Prayer’ Sold for a Fortune,” Saint Paul Globe 9, no. 183 (July 2, 1889): 4, as The Chiffa Pass.
“Secretan’s [sic] Great Sale: Scattering His Many Art Treasures; Millet’s ‘L’Angelus’ Going to the Louvre for $111,000—Making Meissonier’s Wedding Day,” New York Times 38, no. 11,807 (July 2, 1889): 2, as The Chiffa Pass.
“The Secrétan Sale,” Times (London), no. 32,740 (July 2, 1889): 5, as Les Gorges de la Chiffa.
“Au jour le jour: La vente Secrétan,” Le Temps, no. 10,285 (July 3, 1889): unpaginated, as les Gorges de la Chiffa.
E. de M., “La Vente Secrétan,” La Liberté (July 3, 1889): 3, as Les Gorges de La Chiffa.
“La Vente Secrétan,” La Justice, no. 3,458 (July 3, 1889): unpaginated, as les Gorges de la Chiffa.
Scaramouche, “La Vente Secrétan,” Le Gaulois, no. 2,501 (July 4, 1889): 1.
Georges d’Heylli, “Revue économique: La vente Secrétan,” L’Économiste français 2, no. 27 (July 6, 1889): 14, as Les Gorges de la Chiffa.
“Sales,” Athenæum, no. 3,219 (July 6, 1889): 39, as Les Gorges de la Chiffa.
“Art and Artists: The Secretan [sic] Sale,” Sunday Inter Ocean 18, no. 105 (July 7, 1889): 16, as Tbe Chiffa Pass.
“Variétés: Un tableau d’un demi-million,” L'Avenir de Bel-Abbès, no. 650 (July 10, 1889): unpaginated, as La Chiffa.
“Variétés: La Vente Secrétan,” Gazette anecdotique, littéraire, artistique 2, no. 13 (July 15, 1889): 23, as Les Gorges de la Chiffa.
W. H. Burbank, “Amateur Photography: The Sale of the Secrétan Pictures,” Art Amateur 21, no. 3 (August 1889): 63, as The Chiffa-Pass.
D. C. T., “The Secrétan Collection,” Art Journal (November 1889): 306, 310, as Les Gorges de la Chiffa.
Appleton’s Annual Cyclopaedia and Register of Important Events of the Year 1889, vol. 29 (New York: D. Appleton, 1890), 320, as Gorges de la Chiffa.
Artistes contemporains des pays de Guyenne, Béarn, Saintonge et Languedoc. Léon Bonnat, Maxime Lalanne, Fromentin, Brascassat, Goya, Rosa Bonheur, Falguière, Leo Drouyn, Chabry, Diaz, Ingres. Notices par MM. Louis Bauzon, Paul Berthelot, Paul Bonnefon, Ch. Chaumet, Ch. Marionneau, Laurent Mathéron, E. Toulouze, E. Vallet (Bordeaux, France: 1889), 74, as Un ravin, souvenir d’Algérie.
Narcisse Faucon, Le Livre d’or de l’Algérie, vol. 1, Biographies, 2nd ed. (Paris: Augustin Challamel, 1890), 265, as Un ravin.
[Jules-Antoine] Castagnary, Salons, vol. 2, 1872-1879 (Paris: Bibliothèque-Charpentier, 1892), 117, as Souvenirs d’Algérie.
“Notes,” Nation 64, no. 1662 (May 6, 1897): 341.
“Collection de Mme. G. Van Den Eynde,” Le Journal (May 13, 1897): 4.
“Collection of Mme. G. Van Den Eynde,” International Herald Tribune, no. 22,179 (May 13, 1897): 6.
“Collection de Mme. G. Van Den Eynde,” La Liberté, no. 11,860 (May 14, 1897): 4.
Le Masque de Fer, “Échos: A Travers Paris,” Le Figaro, no. 134 (May 14, 1897): 1.
Un Domino, “Échos de Paris,” Le Gaulois, no. 5670 (May 15, 1897): 1.
“Expositions et Ventes,” Le Figaro, no. 135 (May 15, 1897): 6.
Catalogue de Tableaux Modernes, Aquarelles, Pastels et Dessins par Axilette, Berne-Bellecour, Billotte, Corot, Daubigny, Decamps, Delacroix, Detaille, Jacque, Diaz, Fromentin, Hébert, Isabey, Jongkind, Leys, Meissonier, Millet, Th. Rousseau, Roybet, Stevens, Tassaert, Troyon, Vollon, Willems; Anciennes Porcelaines de la Chine et du Japon; Garniture de cinq pièces de vieux Chine a fond Capucin; Porcelaines et faïences variées; Douze fauteuils couverts en tapisserie Du temps de Louis XV; Meuble de salon Louis XVI couvert en lampas; Composant la Collection de Mme G. Van den Eynde (Paris: Hôtel Drouot, May 18-19, 1897), 12, (repro.) as Les Gorges de la Chiffa.
“Faits divers: Informations diverses,” Le Temps, no. 13,136 (May 20, 1897): unpaginated, as Gorges de la Chiffa.
Gazette Drouot (May 21, 1897): 1, as Les Gorges de la Chiffa.
“Beaux-Arts: La collection van den Eynde,” La Croix, no. 4,320 (May 22, 1897): unpaginated, as Gorges de la Chiffa.
“Mouvement des arts: Collection de Mme Van den Eynde; Vente faite à l’Hôtel Drouot, les 18 et 19 mai,” La Chronique des arts et de la curiosité, no. 21 (May 22, 1897): 197-98, as Les Gorges de la Chiffa.
“Art at the Union League,” New York Times 48, no. 15,238 (November 11, 1898): 7, as The Oasis.
“M. Secrétan,” Times (London), no. 35,775 (March 13, 1899): 6.
M. N., “Chronique des ventes: Tableaux—Objets d’Art; Curiosité,” Le Bulletin de l’art, no. 11 (March 18, 1899): 92.
“American Collections XXI. The Collection of George J. Gould, Esq., Lakewood, N. J.,” Collector and Art Critic 2, no. 12 (April 15, 1900): 200-01, as The Halt.
“Chroniques Rochelaises: Une statue a [sic] Eugène Fromentin,” Le Courrier de la Rochelle, no. 101 (December 20, 1900): 1, as Souvenir d’Algérie, un ravin.
E[rnest] Brard, “Eugène Fromentin,” Le Courrier de la Rochelle, no. 87 (October 30, 1902): 1, as Le Ravin.
Ernest Brard, Nos Gloires nationales: Eugène Fromentin, notes biographiques (La Rochelle, France: Imprimerie de Masson, 1902), 13, as Le Ravin.
Jules Huret, “En Amérique: Maisons de campagne,” Le Figaro, no. 211 (July 30, 1903): 3.
Le Signal: messager de la semaine (September 9, 1903): unpaginated, as Le Ravin.
A. Ollivier, Eugène Fromentin: peintre et écrivain (La Rochelle, France: Imprimerie Rochelaise, 1903), 22, as Le Ravin.
Jules Huret, “Le livre du jour: En Amérique,” Les Annales politiques et littéraires: Revue populaire paraissant le dimanche, no. 101 (July 31, 1904): 7.
Frederick J. V. Skiff, Official Catalogue of Exhibitors: Universal Exposition, St. Louis, U.S.A., 1904, exh. cat. (St. Louis: Official Catalogue Company, 1904), 72, as Arab Encampment—Gorges of Chiffa.
“An Expert’s Notes on World’s Fair Pictures: The Loan Collection,” St. Louis Globe-Democrat 30, no. 134 (September 30, 1904): 10, as Arab Encampment—Gorges of Chiffa.
Pierre Blanchon, ed., Eugène Fromentin: (1820-1876) (La Rochelle, France: Librairie-Imprimerie A. Foucher, 1905), 20, as Le Ravin.
Jules Huret, En Amérique: de New York, a [sic] la Nouvelle-Orleans (Paris: Bibliothèque-Charpentier, 1905), 205.
Théodore Guèdy, Manuel pratique du Collectionneur de Tableaux Comprenant Les principales Ventes des XVIIIe, XIXe siècles jusqu’à nos jours, des œuvres des Peintres de toutes les écoles, Signatures et Monogrammes (Paris, 1906), 63, as La gorge de Chiffa.
Émile Michel, Great Masters of Landscape Painting (1906; repr. Philadelphia: J. B. Lippincott, 1910), 397, (repro.), as The Gorge of the Chiffa.
Delancey M. Ellis, “Loan Collection of Paintings,” New York at the Louisiana Purchase Exposition—St. Louis 1904 (1907): 137.
Karl Baedeker, The United States with Excursions to Mexico, Cuba, Porto [sic] Rico, and Alaska, 4th rev. ed. (Leipzig: Karl Baedeker, 1909), 179.
Les peintres illustrés: Fromentin; huit reproductions fac-simile en couleurs (Paris: P. Lafitte, 1910), 41, as Ravin.
Jules Huret, “La vie de campagne,” L’Amérique moderne 1 (1911): 46.
Georges Beaume, Fromentin (Paris: Sociétés des Éditions Louis-Michaud, [1911]), 98, 145, (repro.), as Le Ravin and Chevaux à l’abreuvoir.
Eugène Fromentin, Correspondance et Fragments inédits, 4th ed. (Paris: Plon-Nourrit, 1912), 297-98, as Ravin.
Isabelle Errera, Répertoire des peintures datées, vol. 2 (Brussels: G. Van Oesta, 1921), 847, as Gorges de la Chiffa.
Prosper Dorbec, “L’Hellénisme d’Eugène Fromentin,” Gazette des Beaux-Arts 9, no. 743 (January 1924): 33-34, (repro.), as Chevaux à l’abreuvoir.
Prosper Dorbec, L'art du paysage en France: essai sur son évolution de la fin du XVIIIe siècle à la fin du second empire (Paris: Henri Laurens, 1925), unpaginated, (repro.), as Chevaux à l’abreuvoir.
Prosper Dorbec, Eugene Fromentin (Paris: Renouard, 1926), 33, 84, (repro.), as Chevaux à l’abreuvoir.
“Art and Artists: ‘Masterpiece of Week’ On Display Next Sunday; Plan to Give a Single Work of Art a Spotlight and Special Setting Each Week at the Nelson Gallery to Be Inaugurated Sunday,” Kansas City Star 54, no. 173 (March 9, 1934): 15, as Chiffa Pass.
Victor Giraud, “Eugène Fromentin: I, L’Homme,” Revue des Deux Mondes 51, no. 2 (May 15, 1939): 428, as Ravin.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 168, as Chiffa Pass.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 260, as Chiffa Pass.
Barbara Wright, “Poème inédit de Fromentin: ‘La Fin du Rhamadan’,” French Review 38, no. 6 (May 1965): 777, as Le Ravin.
Edwin Palmer Hoyt, The Goulds: A Social History (New York: Weybright and Talley, 1969), 231.
Odile de Saint-Afrique, Carmen Montiert-Ducros, and Lise Carrier, eds., Fromentin: le peintre et l'écrivain, 1820-1876, exh. cat. (La Rochelle, France: Bibliothèque municipal, 1970), 4, 59, as le Ravin.
Lilian Husson, “Plume et pinceau: Eugène Fromentin (1820-1876),” Publications du Comité du vieil Alger 7 (1972): 26, as Le Ravin.
Fouad Marcos, Fromentin et l’Afrique (Quebec: Éditions Cosmos, 1973), 167-68, 209, as le Ravin.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 258, as Chiffa Pass.
Emanuel J. Mickel, Jr., Eugène Fromentin (Boston: Twayne, 1981), 22.
Eugene Fromentin, Œuvres complètes, ed. Guy Sagnes (Paris: Éditions Gallimard, 1984), XXXIV, as Le Ravin.
James Thompson and Barbara Wright, Les Orientalists, vol. 6, La vie et l'œuvre d'Eugène Fromentin (Paris: ACR Édition, 1987), 294, 296-98, (repro.), as Un Ravin: Souvenir d’Algérie.
Claude Herzfeld, “Reviewed Work: ‘La Vie et l'Œuvre d'Eugène Fromentin, dans la série Les Orientalistes.’ ACR Edition by Barbara Wright, James Thompson,” Nineteenth-Century French Studies 19, no. 1 (Fall 1990): 150, as Un Ravin; Souvenir d’Algérie.
Maitres des XIXe et XXe Siècles, exh. cat. (Paris: Galerie H. Odermatt et Ph. Cazeau, 1988), unpaginated.
James Thompson, The East Imagined, Experienced, Remembered: Orientalist Nineteenth Century Painting, exh. cat. (Dublin: National Gallery of Ireland, 1988), 79, 87, as The Ravine; Algeria Remembered.
James Thompson and Barbara Wright, Eugène Fromentin au Musée des beaux-arts de La Rochelle: suivi d'une évocation sommaire des œuvres de son père (La Rochelle, France: Musée des beaux-arts de La Rochelle, 1988), 50, as Un Ravin: Souvenir d’Algérie.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 130, 203, (repro.), as Chiffa Pass.
Elwood Hartman, Three Nineteenth-Century French Writer/Artists and the Maghreb: The Literary and Artistic Depictions of North Africa by Théophile Gautier, Eugène Fromentin, and Pierre Loti (Tübingen, Germany: Gunter Narr Verlag, 1994), 98, as Le Ravin.
Barbara Wright, ed., Correspondance d'Eugène Fromentin (Paris: CNRS-Editions, 1995), 1: 82; 2: 1843, as Un Ravin: Souvenir d’Algérie.
19-20-seiki Furansu kindai kaigaten: Airurando Kokuritsu Bijutsukan shozō Korō kara Pikaso made = French 19th and 20th Century Paintings from the National Gallery of Ireland: Corot to Picasso, exh. cat. (Tokyo: Mainichi Newspapers, 1996), 112, as A Ravine: Algeria Remembered.
Jane Turner, ed., The Grove Dictionary of Art, vol. 11 (London: Macmillan, 1996), 801, as Algeria Remembered.
Clément Borgal, Eugène Fromentin: tel qu'en lui-même (Paris: L’Harmattan, 1998), 253, as Ravin and Souvenir d’Algérie.
E[mmanuel] Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs, et graveurs de tous les temps et de tous les pays par un groupe d’écrivains spécialistes français et étrangers, new ed., ed. Jacques Busse, vol. 5 (Paris: Gründ, 1999), 743, as Les Gorges de la Chiffa.
Barbara Wright, Eugène Fromentin: A Life in Art and Letters (Bern: Peter Lang, 2000), 441, 490, 494-95, 501n17, as Un Ravin: Souvenir d’Algérie and Algeria Remembered.
Regards sur l'Orient: tableaux, sculptures et objets d'art (Paris: Sotheby’s, October 29, 2008), 44.
Christine Davis, ed., National Gallery of Ireland/Gailearaí Náisiúnta na hÉireann: Essential Guide, 2nd ed. (London: Scala, 2008), 112, as A Ravine and Algeria Remembered.
Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 117, as A Ravine: Souvenir of Algeria.
James Thompson and Barbara Wright, Eugène Fromentin, 1820-1876: Visions d'Algérie et d'Egypte, new ed. (Paris: ACR Édition, 2008), 358, 360-61, 368-70, 568, (repro.), as Un Ravin; Souvenir d’Algérie.
Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 30, (repro.), as A Ravine: Souvenir of Algeria.
Patrick Tudoret, Fromentin: Le roman d'une vie, Biographie (Paris: Les Belles Lettres, 2018), 244, as Souvenirs d’Algérie and Un Ravin.
Asher Ethan Miller, “Eugène Fromentin, A Ravine: Souvenir of Algeria, 1874,” catalogue entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.406.5407.
