Camille Pissarro

(18311903 ) - Artworks Wikipedia® - Camille Pissarro
PISSARRO Camille Laveuse Dans Le Jardin D'eragny

Christie's /Nov 5, 2014
1,038,498.63 - 1,335,212.52
1,249,933.00

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Variants on Artist's name :

Camille Pissarro

 

Artworks in Arcadja
1586

Some works of Camille Pissarro

Extracted between 1,586 works in the catalog of Arcadja
Camille Pissarro - Paysanne Assise Et Chèvre

Camille Pissarro - Paysanne Assise Et Chèvre

Original 1884
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Lot number: 29
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Description:
Camille Pissarro 1830 - 1903 PAYSANNE ASSISE ET CHÈVRE signed and dated 84 oil on canvas 23 1/2 by 29 in. 59.8 by 73.6 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Durand-Ruel Family, Paris (acquired from the artist on August 10, 1885) Catholina Lambert, Patterson, New Jersey (acquired from the above on April 5, 1888) Durand-Ruel, New York (acquired from the above on April 14, 1899 until at least 1936) Sam Salz, Inc., New York Collection of Mr. and Mrs. Paul Mellon (acquired from the above in November 1959) Exhibited Paris, Galerie Durand-Ruel, 1904 New York, Galerie Durand-Ruel, Paintings - Camille Pissarro, 1936, cat. no. 9 Boston, Museum of Fine Arts, Camille Pissarro: The Unexplored Impressionist, 1981 Albany, Institute of History of Art, Paintings by the French Master Impressionists, cat. no. 21 Literature Cortissoz, New York Herald Tribune, March 8, 1936, p. 10 The Art News, New York, March 14, 1936, p. 8 Ludovic Rodo Pissarro & Lionel Venturi, Pissarro, Son art - Son oeuvre, catalogue raisonné de l'oeuvre, Paris, 1939, vol I, cat. no. 650, p. 173; vol II, cat. no. 650, pl. 134, illustrated Joachim Pissarro & Claire Durand-Ruel Snollaerts, Picasso, cat. no. 764, p. 506, illustrated in color Portrayals of local peasant life capture the rural charm of Eragny, the small hamlet where Pissarro lived from 1884 until his death in 1903. Located some sixteen miles northwest of Paris, Eragny is situated along the Epte river, and its rural elementsmade it a highly picturesque environment in which to paint en plein-air. Eragny was smaller than Pontoise, where Pissarro had been living and working for two decades, and relatively less inhabited, Erangy offered Pissarro many opportunities to depict the rural labor and harvest. The town's economy included agriculture as well as industry, and offered Pissarro a wide range of subjects, from crowded semi-urban genre scenes, views of roads and factories, to farmers working in the fields and particularly the melding of the urban, suburban and rural worlds. Joachim Pissarro has written the following about Pissarro's depictions of rural life: "Pissarro's figures [....] do not purport to convey an exact account of what female and male peasants actually looked like in northern France during the last two decades of the nineteenth century. While they are not allegories, neither are they sociological documents. From this difficulty, which is both essential and highly characteristic of Pissarro's figure paintings - i.e., the fact that they are resistant to conveying any message and to being "read" as sociological or anthropological witnesses of the raw facts – the manifold interpretations of Camille Pissarro's work have arisen" (J. Pissarro, op. cit., 1993, p. 157). Pissarro's dealer Durand-Ruel acquired this work from the artist shortly after its completion and sold it in 1888 to the East Coast textile magnate Catholina Lambert (1923-1834). Lambert built a palatial estate, known as Bella Vista or Lambert Castle, for his vast art collection in Patterson, New Jersey. Lambert lost much of his fortune during the construction of his castle, and was ultimately compelled to sell his collection at auction to pay off his debts. Fig. 1 Camille pissarro, la gardeuse de chèvre, 1881, sold: sotheby’’’’s, new york, may 5, 2009, lot 19, $2.5 million Very good condition. The canvas is lined. Along the bottom edge to the right of the signature, there is a a 2-inch line of loss due to the original canvas creasing and separating from the lining. Under UV, no evidence of retouching. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Camille Pissarro - Bergères

Camille Pissarro - Bergères

Original
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Gross Price
Lot number: 109
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Camille Pissarro (1830-1903) Bergères stamped with initials 'C.P.' (Lugt 613a; lower right) gouache, watercolor and black Conté crayon on paper 20 1/8 x 13 3/8 in. (51 x 34 cm.) Executed circa 1887 Estate of the artist. Mr. and Mrs. Lucien Pissarro, London (by descent from the above). John Rewald, New York (acquired from the above). Acquired from the above by the late owner, April 1948. PROPERTY FROM THE ESTATE OF ROSALYND C. PFLAUM L.R. Pissarro and L. Venturi, Camille Pissarro, son art—son oeuvre, Paris, 1939, vol. I, p. 277, no. 1419 (illustrated, vol. II, pl. 276). San Francisco, California Palace of the Legion of Honor, 19th Century French Drawings, March-April 1947, p. 52, no. 82.
Camille Pissarro - L'anse Des Pilotes Et Le Brise-lames Est, Le Havre

Camille Pissarro - L'anse Des Pilotes Et Le Brise-lames Est, Le Havre

Original
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Lot number: 325
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Description:
Camille Pissarro (1830-1903) L'Anse des Pilotes et le brise-lames est, Le Havre signed and dated 'C. Pissarro. 1903' (lower right) oil on canvas 18 ¼ x 21 ¾ in. (46.2 x 55 cm.) Painted in 1903 Galerie Georges Petit, Paris. Otto Zieseniss, Paris (acquired from the above, February 1924). Christian Zieseniss, Paris (by descent from the above, 1938). Private collection, Switzerland. Wildenstein & Co., Inc., New York (acquired from the above, 1978). Acquired from the above by the present owner, 1979. PROPERTY OF A DISTINGUISHED GENTLEMAN G. Lecomte, Camille Pissarro, Paris, 1922, p. 102 (illustrated; titled Avant-port du Havre). L.R. Pissarro and L. Venturi, Camille Pissarro, son art—son oeuvre, Paris, 1939, vol. I, p. 263, no. 1312 (illustrated, vol. II, pl. 255; titled Avant-port du Havre). J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Paris, 2005, vol. III, p. 915, no. 1512 (illustrated in color). Dallas Museum of Art, Impressionist and Modern Masters in Dallas, September-October 1989, p. 75, no. 82 (illustrated in color, p. 39). Dallas Museum of Art; Philadelphia Museum of Art and London, Royal Academy of Arts, The Impressionist and the City, Pissarro's Series Paintings, November 1992-October 1993, p. 204, no. 150 (illustrated in color; titled The Inner Harbour, Le Havre). Le Havre, Musée d'art moderne André Malraux, Pissarro dans les ports, Rouen, Dieppe, Le Havre, April-September 2013, p. 172, no. 70 (illustrated in color, p. 114, fig. 105).
Camille Pissarro - Laveuse Dans Le Jardin D'eragny

Camille Pissarro - Laveuse Dans Le Jardin D'eragny

Original 1899
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Lot number: 18
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Description:
Camille Pissarro (1830-1903) Laveuse dans le jardin d'Eragny signed and dated 'C. Pissarro. 1899' (lower right) oil on canvas 23 5/8 x 28 ¾ in. (60 x 73.2 cm.) Painted in Eragny, 1899 Julie Pissarro, Paris (by descent from the artist, 1904). Ludovic-Rodolphe Pissarro, Paris (gift from the above, 1921). Dr. W. Hanhart, Basel (circa 1957). Paul Rosenberg & Co., New York. Schoneman Galleries, Inc., New York. Madelaine and B. Bernard Kreisler, Greenwich, Connecticut (acquired from the above, by 1959). Private collection, New Orleans (by descent from the above, 1976); sale, Christie's, New York, 4 November 2003, lot 16. Acquired at the above sale by the present owner. PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION L.R. Pissarro and L. Venturi, Camille Pissarro, son art–son oeuvre, Paris, 1939, vol. I, p. 232, no. 1081 (illustrated, vol. II, pl. 216; titled Laveuse à Eragny). J. Bailly-Herzberg, ed., Correspondance de Camille Pissarro, Paris, 1991, vol. 5, pp. 32-33, no. 1642. J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures, Paris, 2005, vol. III, p. 790, no. 1272 (illustrated in color). R.R. Brettell, Pissarro's People, exh. cat., San Francisco, Legion of Honor and Williamstown, Sterling and Francine Clark Art Institute, 2011 (illustrated in situ, p. 292). Bern, Kunstmuseum, Camille Pissarro, 1830-1903, January-March 1957, p. 18, no. 103 (titled Laveuse à Eragny). New Orleans Museum of Art, 1987-2003 (on extended loan).
Camille Pissarro - Vue De Bazincourt, Brouillard

Camille Pissarro - Vue De Bazincourt, Brouillard

Original 1894
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Lot number: 168
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Description:
Camille Pissarro 1830 - 1903 VUE DE BAZINCOURT, BROUILLARD Initialed C.P. (lower right); stamped C.P. (on the stretcher) Oil on canvas 13 by 16 1/4 in. 33 by 41.3 cm Painted circa 1894. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Estate of the artist Georges Manzana-Pissarro (the artist's son; by descent from the above in 1904) G. Urion, Paris (and sold: Galerie Georges Petit, Paris, May 30-31, 1927, lot 79) Gaston Dreyfus (acquired at the above sale) Private Collection, France (and sold: Sotheby's, London, February 4, 2004, lot 218) Private Collection, Germany (acquired at the above sale and sold: Sotheby's, London, June 23, 2010, lot 171) Acquired at the above sale Exhibited Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures, vol. III, Paris, 2005, no. 1024, illustrated in color p. 659 Vue de Bazincourt, brouillard was painted after Pissarro abandoned his Neo-Impressionist phase and joyously returned to working en plein air rather than secluded in his studio. He exclaimed to Monet, “It seemed so good to me to work outside, it had been two years since I last dared to attempt the adventure” (quoted in Joachim Pissarro, Camille Pissarro, New York, 1993, p. 224). During the last twenty years of his life, Pissarro focused his attention on the pastures of small French villages outside of Normandy, particularly Eragny-sur-Epte and Bazincourt. These landscape paintings have a distinct compositional organization as well as a heightened vantage point, such as in Vue de Bazincourt, brouillard. The contrast between the thick impasto paint used for the ground and the fragmented, smoother brushstrokes used for the treetops and sky mimic the weightlessness of the fog against the heaviness of the earth, revealing the master's thoughtful and confident control of his medium. According to Joachim Pissarro and Claire Durand-Ruel Snollaerts, the initials on both the front of the work and the stretcher may have been added by another hand. Fig. 1 Camille Pissarro, Prairie à Éragny , 1886, oil on canvas, sold: Sotheby’’’’s, New York, November 6, 2013, lot 35 for $4,253,000
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