Camille Pissarro

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.

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 (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 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