Ludovic lepic biography of alberta

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Berson refers to the review of E.F. (R90II,p40), but he doesn’t seem to explicitly refer to this work. Nl.: bandspanningsregelaar / kaapstander / gangspil. The first edition of the catalogue rendered as asking price 200fr (R411).
Berson refers to reviews of Lepelletier and de Lora (R90II,p8). See also Beraldi (R85IX,p143,no3)

2IE-1876-135, CroquisHollandais (2 cadres eaux fortes)
Note: this number contains 2 frames with etchings depicting studies made in Holland.

To compare I suggest an oil painting with the same theme: 1862, La baie de Naples par temps clair, 94×128, A1997/12/05 (iR13;R2,p121;R90II,p8). Eng.: Moses on the Nile; … And the veil of the temple was torn!… The sower of tares / chaff / weeds.
The second work is probably: 1873, Golgotha, the temple veil is torn, gouache, 35×22, A2016/05/04 (iR11;iR1;R276,p213).

S1879-1898, La pêche au hareng d’Ecosse par les bateaux de Berck .
Eng.: Fishing on Scottish herring by the boats of Berck.
=1878, La pêche aux harengs d’Ecosse par les barques de Berck, 129×216, MBA Reims (iR23).
Bought in 1879 by the government (iR23).

S1879-1899, La Vierge de Grosfliers, à Berck (Pas-de-Calais).
Now unknown (R276,p213).

SdAF-1880- 2288, La banquise de la Loire, à Saumur; janvier 1880 ;
Additional info: H.

2m,30.- L. 3m,20. Lepic was also a master of composition and created works with a sense of dynamism and movement, which set them apart from the traditional works of the time. Eng.: The ice-pack…
Now unknown (R276,p213).

SdAF-1880-2289, Le retour ;
Additional info: H. 2m,00.L. There are many pictures in which Lepic depicts boats.

104 + 107 + 108? As a very uncertain suggestion I render an undated work: 18xx, Le remorquage (towing), 125×97, MdF Berck (aR4=M202;iR13;R2,p162).

2IE-1876-118, Un cabestan
Eng.: a capstan. However, Lepic never fully embraced the Impressionist aesthetic in his own painting. Le Hourdel is a small commune near Cayeux-sur-Mer (iR9).

From 1863-68 the address given is Palais du Louvre. His bold and daring use of color and texture helped to define the late 19th century art scene and pushed the boundaries of what was then considered acceptable. 135 contained 2×4=8 etchings. Eng.: Landscapes on the banks of the Scheldt.
Now unknown (R276,p212).
Probably 3 of his 24 etchings of the River Scheldt, in which he rendered the several times of day (R85XI,p144=aR2;R88).

I couldn’t find a suggestion.

2IE-1876-112, Bateaux de la plage de Berck
Eng.: boats at the beach of Berck. Lepic depicted many boats on the beach (at low tide), see no.112. His art was deeply rooted in emotion, and he sought to convey his own feelings through his work, which often resulted in powerful and deeply moving pieces of art.

But the Scheldt (l’Escaut) lies in Belgium, not in Holland and is a river, not a canal. He continued to exhibit regularly at the official Paris Salon, a venue largely shunned by the core Impressionists after their initial independent shows.

Despite these stylistic differences, his experimental approach to etching, particularly the eau-forte mobile, resonated with the Impressionists' interest in capturing fleeting moments and subjective perceptions.

At the same time in 1876 Lepic exhibited at the Salon: ‘S1876-3903, Trois eaux-fortes: Paysages des bords de l’Escaut’ and I assume the work Berson suggests, more probably was exhibited at the Salon.