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Camille Pissarro

(1831 -  1903 ) Wikipedia® : Camille Pissarro
PISSARRO Camille L'hermitage En Été, Pontoise

Sotheby's /May 16, 2017
918,948.72 - 1,378,423.08
Not Sold

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Variants on Artist's name :

Camille Pissarro

 

Artworks in Arcadja
2030

Some works of Camille Pissarro

Extracted between 2,030 works in the catalog of Arcadja
Camille Pissarro - Femme À La Bêche

Camille Pissarro - Femme À La Bêche

Original 1900
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Net Price
Lot number: 1046
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Description:
Camille Pissarro (Danish/French, 1830-1903) FEMME À LA BÊCHE Lithograph, c.1900, plate 3 from the portfolio '25 Lithographies par W Thornley d\’apr?s Pissarro', the edition was 108, etched by George William Thornley after drawings by the artist, printed by Atelier Becquet, Paris, published by Boussod-Valadon, Paris, on chine appliqué paper, with full margins image 22.3 x 18.4cm, framed
Camille Pissarro - Paul-emile Écrivant S

Camille Pissarro - Paul-emile Écrivant S

Original 1894
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Lot number: 10
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Description:
Camille Pissarro (1830-1903) Paul-Emile écrivant stamped with initials 'C.P.' (lower left) oil on canvas 18 1/8 x 15 1/8 in (46 x 38.3 cm) Painted circa 1894 Provenance Estate of the artist. Julie Pissarro, the artist's wife, 1904. Paul-Emile Pissarro, the artist's son, by deed of gift, 1921. Acquavella Galleries, Inc., New York. Mrs. Lloyd S. Gilmour; Christie's, New York, 13 May 1980, Lot 31. Norma and Seldon Ring, Los Angeles. Montgomery Gallery, San Francisco. Acquired from the above by the present owner in April 1998. Exhibited Jerusalem, The Israel Museum, and New York, The Jewish Museum, Camille Pissarro: Impressionist Innovator, 11 October 1994–9 January 1995, no. 123. New York, The Jewish Museum, Camille Pissarro: Impressionist Innovator, 26 February–16 July 1995, no. 123. Literature L.-R. Pissarro and L. Venturi, Camille Pissarro, Son art – Son oeuvre, Paris 1939, p. 201, no. 866 (illustrated vol. II, pl. 176). J. Pissarro and S. Rachum, Camille Pissarro – Impressionist Innovator, Jerusalem, 1994, p.222, no. 123 (illustrated in color). J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Milan, 2005, p. 663, no. 1033(incorrectly listed as retouched, as confirmed by Dr. Pissarro in 2017). Paul-Émile was Camille and Julie Pissarro's fifth son and their eighth and last child, born on 22 August 1884. Known to the family as 'Pitou', 'Tiolo' or 'Guingasse', he grew up in the same intensely artistic environment as his siblings at a time when his father was already very well established as a painter; Claude Monet was his godfather. He appeared first in his father's work at the age of three in Femme étendant du linge, Éragny of 1887 (J. Pissarro and C. Durand-Ruel Snollaerts, op. cit., no. 854), and made regular appearances thereafter. Camille Pissarro and his family moved to Éragny in the Vexin, 40 miles north of Paris, shortly before Paul-Émile's birth. This period saw the artist steadily develop his Pointillist period, but by 1894, the year of the present painting, he had declared 'dots are finished' and was returning once again to Impressionism. The delicate cross-hatching and the subtle handling of composite tones in this portrait of his youngest child speak of Pissarro's meditative contentment as he returns in this domestic scene to a style of which he was an undisputed master. Unsurprisingly given his upbringing, drawing came as second nature to Paul-Émile. Writing to his elder son Georges in 1889, Camille Pissarro reported that 'Paul-Émile makes spider's legs, which in his imagination become coaches, horses, cabbies, Cocotte [his sister], birds, etc., etc.' (quoted in J. Pissarro and C. Durand-Ruel Snollaerts, op. cit., p. 577). His mother Julie was less impressed that all her sons were becoming painters, writing to Camille in about 1895 to reproach him 'for being so stupid and so indifferent to his boys that [he] encourages them to do nothing but this rotten profession for down-and-outs.' (quoted in A. de Buffévent, 'A Painter and His Age: Biography and Critical Reception' in J. Pissarro and C. Durand-Ruel Snollaerts, op. cit., p. 257). Octave Mirabeau, influential critic and a supporter of Pissarro, took a more positive view: 'What a marvelous family, reminiscent of the heroic age of art! An old age still young and revered, surrounded by five sons, all artists and all different! Each one follows his own nature. The father doesn't foist his own theories and doctrines, his own ways of seeing and feeling on them. He lets them grow according to their own vision and intelligence ... in each he nurtures the flower of their own individuality.' (6 December 1897; quoted in J. Pissarro and C. Durand-Ruel Snollaerts, op. cit., under no. 277). Following his father's death, Julie Pissarro got her way, as Paulémile (he preferred his name unhyphenated) took up practical trades including as an automobile mechanic and test driver. He returned to painting shortly before the First World War, becoming a successful Post-Impressionist artist enjoying a lasting rapport with contemporaries such as Kees van Dongen, Maurice de Vlaminck and Raoul Dufy. He continued to paint and exhibited regularly, including a first one-man show in the United States in 1967 five years before his death.
Camille Pissarro - Vue De Bazincourt En Hiver

Camille Pissarro - Vue De Bazincourt En Hiver

Original
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Lot number: 197
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Description:
Camille Pissarro VUE DE BAZINCOURT EN HIVER 1830 - 1903 SignedC. Pissarro. and dated98 (lower left) Oil on canvas 18 1/8 by 21 5/8 in. 46 by 55 cm Painted in 1898. Provenance Julie Pissarro, France (the artist's wife; by descent in 1904) Jeanne-Bonin Pissarro, France (the artist's daughter; agift from the above in 1921) Jacques Dubourg, Paris (acquired in1948) Sale: Palais d\\\’Orsay, Paris, March 22, 1979, lot 68 Sale: Christie\\\’s, London, July 3, 1979, lot 52 Galerie Daniel Malingue, Paris R. Fraser Elliott, Toronto (acquired from the above in 1979) Agift from the estate of the above in 2005
Camille Pissarro - L'hermitage En Été, Pontoise

Camille Pissarro - L'hermitage En Été, Pontoise

Original 1877
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Lot number: 47
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Camille Pissarro L'HERMITAGE EN ÉTÉ, PONTOISE 1830 - 1903 Signed C. Pissarro and dated 1877 (lower left) Oil on canvas 22 1/4 by 36 in. 56.5 by 91.5 cm Painted in 1877. Gustave Caillebotte, Paris (acquired from the artist) Martial Caillebotte, Paris (by descent from the above) Albert Chardeau, Paris (by descent from the above) César de Hauke, Paris Knoedler & Co., Inc., New York (acquired from the above on November 30, 1947) Mrs. John Barry Ryan, New York (acquired from the above on November 16, 1950) Private Collection, Switzerland (acquired from the Estate of the above in 1995 and sold: Sotheby's, New York, May 3, 2011, lot 36) Private Collection (acquired at the above sale) Exhibited Paris, Galerie Durand-Ruel, L'Oeuvre de Camille Pissarro, 1904, no. 43 Columbus, Columbus Gallery of Fine Arts, The Springtime of Impressionism, 1948, no. 17 Manchester, New Hampshire, The Currier Gallery of Art, Monet and the Beginnings of Impressionism, 1949, no. 22 New York, The Metropolitan Museum of Art, Paintings from Private Collections, 1961, no. 69 New York, The Metropolitan Museum of Art, Paintings from Private Collections, 1967, no. 77 London, Helly Nahmad Gallery, The New Painting: New Visions in Modern Art (1835-1956), 1998, no. 2 Hiroshima, Prefectural Art Museum & Tokyo, The Bunkamura Museum of Art, Monet and Renoir: Two Great Impressionist Trends, 2003, no. 17, illustrated in color in the catalogue New York, The Museum of Modern Art; Los Angeles, The Los Angeles County Museum of Art & Paris, Musée d'Orsay, Pioneering Modern Painting: Cézanne and Pissarro 1865-1885, 2005-06, no. 67, illustrated in color in the catalogue Literature Ludovic-Rodo Pissarro & Lionello Venturi, Camille Pissarro, son art - son œuvre, Paris, 1939, vol. I, no. 407, catalogued p. 138 (titled La Vallée en été, Pontoise) Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro. Catalogue critique des peintures, Paris, 2005, vol. II, no. 518, illustrated in color p. 362 Pissarro's most celebrated landscapes are those he completed in Pontoise, where he lived from 1866 until 1883. With his easel and paints he would set out into the countryside, relishing the opportunity to depict the seasonal variations of the surrounding environment. In L'Hermitage en été, Pontoise, Pissarro combined the natural and man-made elements of the landscape in a harmonious composition which is characteristic of the suburban views that Pissarro painted on the outskirts of Pontoise. Unlike many of the works he executed in this region, in which he often depicted the local farmers going about their daily activities, in this large-scale canvas the artist chose a panoramic vista of the region. He seems to have positioned his easel on a hilltop, offering a sweeping view of the town nestled between the hills and the meadows stretching towards the horizon. In the catalogue raisonné for the artist's works, Joachim Pissarro and Claire Durand-Ruel Snollaerts wrote about the present composition: \“This landscape, commonly identified as a view of Le Valhermeil in the commune of Auvers-sur-Oise, is in fact a prospect of the district of L'Hermitage at Pontoise from a spot on the côte des Jalais. In the foreground is a group of houses lining the rue du Fond-de-l'Hermitage (now rue Maria-Deraismes) with the côte des Gratte-Coqs above them. Down in the valley we glimpse the railway line running along the river Oise. The château of Épluches at Saint-Ouen-l'Aumône is recognisable in the background right, and the forests of l'Isle-Adam and Montmorency can be distinguished on the horizon\” (J. Pissarro & C. Durand-Ruel Snollaerts, op. cit., pp. 362-363). In deciding to move to Pontoise, Pissarro was partly guided by a desire to separate himself from the influence of his predecessors, the established French landscape painters, and to depict an environment only infrequently recorded by other masters. Located some twenty-five miles northwest of Paris, Pontoise was built on a hilltop, with the river Oise passing through it, elements which made it a highly picturesque environment in which to paint en plein-air. The town's economy included agriculture as well as industry and offered Pissarro a wide range of subjects, from crowded semi-urban genre scenes and views of roads and factories, to farmers working on the fields and isolated landscapes devoid of human presence. The first owner of the present work was the Impressionist painter Gustave Caillebotte, who acquired it directly from Pissarro. The two artists probably met in 1874, around the time of the First Impressionist Exhibition, which Caillebotte attended but in which he did not participate. It was at this time that he befriended a number of artists including Degas, and most likely Pissarro. Caillebotte would later assemble an extraordinary collection of Impressionist and post-Impressionist art, including eighteen works by Pissarro, as well as notable paintings by Monet, Manet, Renoir, Sisley, Degas and Cézanne, many of which were endowed following his death to the Musée d'Orsay in Paris.
Camille Pissarro - Paysage À Hébécourt

Camille Pissarro - Paysage À Hébécourt

Original 1890
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Gross Price
Lot number: 171
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Description:
Camille Pissarro (1830-1903) Paysage à Hébécourt signed \\\‘C. Pissarro\\\’ (lower right), inscribed and dated \\\‘Hébécourt 1er mai 90\\\’ (lower left) and inscribed and dated again \\\‘Hébécourt. 1er mai 90 - soir\\\’ (extreme lower left) watercolor and charcoal on paper 5 1/8 x 8 5/8 in. (13 x 21.8 cm.) Executed in Hébécourt on 1 May 1890
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