Christie's /Feb 2, 2016
€328,536.73 - €459,951.42
Artworks in Arcadja1782
Some works of Camille PissarroExtracted between 1,782 works in the catalog of Arcadja
Auction: Sotheby's -Feb 4, 2016 - LondonLot number: 207
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Camille Pissarro 1830 - 1903 CAVALIER À L'ORÉE D'UN BOIS signed C. Pissarro (lower right) oil on canvas 39.5 by 32cm., 15 1/2 by 12 5/8 in. Painted circa 1859. Provenance Comtesse de Bréza, Paris Dr John Burton, London The Leicester Galleries, London Private Collection, Switzerland (acquired from the above in 1952) Sale: Me Loudmer, Hôtel Drouot, Paris, 26th November 1990, lot 47 Private Collection, France Sale: Piasa, Paris, 11th December 2009, lot 15 Private Collection, France (sale: Sotheby's, London, 9th February 2012, lot 383) Purchased at the above sale by the present owner Literature John Rewald, Camille Pissarro, London, 1963, n.n., illustrated p. 12 Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro. Critical Catalogue of Paintings, Paris, 2005, vol. II, no. 45, illustrated p. 64
Auction: Sotheby's -Feb 3, 2016 - LondonLot number: 27
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Camille Pissarro 1830 - 1903 L'HERMITAGE EN ÉTÉ, PONTOISE signed C. Pissarro and dated 1877 (lower left) oil on canvas 57 by 91.5cm. 22 3/8 by 36in. Painted in 1877. Provenance 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 30th November 1947) Mrs John Barry Ryan, New York (acquired from the above on 16th November 1950. Sold: Sotheby's, New York, The Estate of Mrs John Barry Ryan, 9th May 1995, lot 50) Sale: Sotheby's, New York, 3rd May 2011, lot 36 Purchased at the above sale by the present owner Exhibited Paris, Galerie Durand-Ruel, L'Œuvre 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 colour 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 colour 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 colour p. 362 Catalogue Note Painted in 1877, the present work depicts a landscape near the town of Pontoise, where Pissarro lived from 1866 until 1883. In deciding to move to Pontoise, the artist 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. 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 [fig. 1] 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). Combining the natural and man-made elements of the landscape in a harmonious composition, L'Hermitage en été, Pontoise 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 August 1872, Cézanne had also moved to Pontoise, joining Pissarro, and soon afterwards he settled in the neighbouring town of Auvers-sur-Oise. During his stay in the area with his wife Hortense and their son Paul, Cézanne frequently walked to Pontoise where he painted alongside Pissarro, often depicting the same views. It was under Pissarro's influence and guidance that he painted from nature, paying considerable attention to rendering the effects of light on the landscape and houses. This mutual influence and collaboration, nurtured at Pontoise, would prove to be a relationship pivotal to the development of Impressionism. Jennifer Field wrote: 'Pissarro's and Cézanne's artistic dialogue around the time of the Third Impressionist Exhibition was fostered by their shared experiences in the region of Auvers-sur-Oise and Pontoise. [...] their shared interest in the harmony of the landscape and the effects of light on the hillsides and meadows can be seen in Pissarro's L'Hermitage in Summer, Pontoise [the present work] and in Cézanne's Auvers-sur-Oise, Panoramic View [fig. 2]' (J. Field, in Pioneering Modern Painting: Cézanne and Pissarro 1865-1885 (exhibition catalogue), op. cit., p. 163). The first owner of the present work was the great 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 probably 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 are now at the Musée d'Orsay in Paris. Fig. 1 Postcard with a panoramic view of L’’’’Hermitage, Pontoise. Musée Pissarro Archives, Pontoise Fig. 2 Paul Cézanne, Vue panoramique d’’’’Auvers-sur-Oise , 1873-74, oil on canvas, The Art Institute of Chicago See More See Less
Auction: Christie's -Feb 3, 2016 - LondonLot number: 381
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Camille Pissarro (1830-1903) Julie Pissarro cousant stamped with the initials 'C.P.' (Lugt 613a; lower right) oil on canvas 25 5/8 x 21 3/8 in. (65 x 54 cm.) Painted circa 1874 Provenance Julie Pissarro, the artist's wife. Jeanne Pissarro-Bonin, the artist's daughter. Alexandre Bonin, the artist's son-in-law, by descent from the above; his sale, Hôtel Drouot, Paris, 26 June 1931, lot 7. M. Bonnemaizon, by whom acquired at the above sale. Anonymous sale, Sotheby's, London, 26 March 1980, lot 8. Private collection, United Kingdom, by whom acquired at the above sale; sale, Christie's, London, 3 February 2010, lot 411. Acquired at the above sale by the present owner. Pre-Lot Text THE PROPERTY OF A GENTLEMAN Literature L. R. Pissarro & L. Venturi, Camille Pissarro, Son art, son œuvre, vol. I, San Francisco, 1989, no. 291, p. 121 (illustrated vol. II, pl. 58). J. Pissarro & C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. II, Paris, 2005, no. 364 (illustrated p. 277).
Auction: Christie's -Feb 2, 2016 - LondonLot number: 18
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Camille Pissarro (1830-1903) La gardeuse d’’’’oies (la mare aux canards) signed 'C. Pissarro.' (lower left) gouache on silk 9 7/8 x 8 1/8 in. (25.1 x 20.6 cm.) Executed circa 1890 Special Notice These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance Anonymous sale, Galerie Charpentier, Paris, 1 April 1954, lot 55. Private collection, France, by whom acquired at the above sale, and thence by descent; sale, Christie's, London, 6 February 2001, lot 1. Acquired at the above sale by the present owner. Pre-Lot Text PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Literature Le Figaro, 2 April 1954. Exhibited Paris, Musée de L'Orangerie des Tuileries, Exposition du Centenaire de la Naissance de Camille Pissarro, February - March 1930.
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After: Camille Pissarro, French (1830-1903) oil on canvas, "Stone Bridge". Signed lower right. Two small patches otherwise good condition. Measures 24-1/8 inches tall and 36 inches wide, frame measures 29-1/2 inches tall and 41-1/2 inches wide. We will not ship this item due to its size. We will happily recommend a list of outside vendors upon request.