Camille Pissarro

Camille Pissarro (1830 - 1903) Lot 80: CAMILLE PISSARRO: "MOTHER & CHILD" (A DOUBLE SIDED DRAWING) Description: signed with initials charcoal on laid Michallet paper Provenance: Ludovic-Rodo Pissarro. Literature: John Rewald, "L'Oeuvre de Jeunesse de Camille Pissarro," L'Amour de l'Art, March 1936, illus. p. 142. Estate of Paul & Carole Cramer, Bel Air Note: An academic drawing in charcoal and white chalk of the legs of a seated nude appears on the verso 16 1/2 inches high x 12 inches wide

CAMILLE PISSARRO (1830-1903) La Vache etching, drypoint and aquatint, 1885, on Van Gelder wove paper, the only known impression of the second state (of three), signed and inscribed no 1-2e état/ La Vache/ manière grise et aquatinte sur cuivre in black ink, with wide margins, a few ink marks at the left sheet edge, in very good condition Plate 117 x 112 mm., Sheet 196 x 253 mm.

Sale 2454 Lot 50 CAMILLE PISSARRO Paysage à l'Hermitage (Pontoise). Drypoint and manière grise printed in black on cream laid paper, 1880. 110x123 mm; 4 3/8x5 inches, full margins. Third state (of 3). One of approximately only 19 lifetime impressions in this state, there were approximately only 20 lifetime impressions in all three states combined. Signed and inscribed "1er épreuve 2e état" in ink and "1ére épreuve--manière grise" in pencil, lower margin. A superb, richly-inked impression of this extremely scarce print, with crisp, inky plate edges and very strong contrasts. Manière grise described a technique devised by Pissarro and Degas during the late 1870s that involved the use of a pencil-shaped emery stone rubbed against the metal etching plate in order to create a gray tone similar to fine-grained aquatint. Delteil 28.

Camille Pissarro (1830-1903) La sente des Pouilleux, Pontoise signed and dated \‘C. Pissarro 1878\’ (lower left) oil on canvas 28 3/4 x 23 3/4 in. (73 x 60.2 cm.) Painted in 1878 Dating from the peak of the impressionist movement, La sente des Pouilleux, Pontoise exemplifies the distinctive style, subject matter and compositional motifs that have come to define Camille Pissarro\’s pioneering form of Impressionism. Painted in 1878, La sente des Pouilleux, Pontoise was included in the Fourth Impressionist Exhibition held the following year. At around the time of the exhibition, the painting was bought by the novelist and pastry chef Eugène Murer, who supported Pissarro and the nascent Impressionist group by buying their works and hanging them in his home and restaurant, promoting them to his regular guests. Following this, La sente des Pouilleux, Pontoise entered into the collection of another important impressionist patron, Dr Georges Viau, a dentist who amassed a number of works by many of the leading artists of this group. Depicting a rustic farmhouse seen through a veil of ascendant trees, La sente des Pouilleux, Pontoise presents a quotidian, rural scene of Pontoise, the small rural town in the Île de France where Pissarro was living at this time. The specific location of the title – Les Pouilleux – appears in two other oils (Pissarro & Durand-Ruel Snollaerts, nos. 328 & 666), however this exact site has never been identified. Like Cézanne and Aix, or Monet and Argenteuil, Pissarro\’s name is now inseparable from Pontoise. He painted the countryside here with a constant enthusiasm; indeed perhaps no other painter depicted one locale as much as Pissarro portrayed Pontoise. The bank of trees that cover the width of the composition partially obscure the houses behind, simultaneously concealing and revealing the subject of the painting. This compositional device was one of Pissarro\’s favourites and appears frequently in his work of the late 1870s, allowing him to create landscapes with often unusual viewpoints or unexpected perspectives, such as the present work.

Description: Camille Pissarro (French 1830-1903)- ''Rue de l'epicerie, Rouen'' (Delteil 64 ii/II)- drypoint, 1886, possibly from the 1907 edition of 80 published by 'La Revue independante' and associated ink stamp (Lugt 613d) recto, titled and inscribed in pencil 'No. 5' lower left, complete margins, slightly light struck and light paper toning, otherwise good condition. 6 1/2 x 5 3/4'' Ex. Coll: Dr. Heinrich Stinnes (Lugt 613d), Lucien Pissarro (1912), Jongkind Lusson.