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Camille Pissarro

(1831 -  1903 ) Wikipedia® : Camille Pissarro
PISSARRO Camille Cavalier À L'orée D'un Bois

Sotheby's /Feb 4, 2016
39,530.90 - 52,707.87
60,384.00

Find artworks, auction results, sale prices and pictures of Camille Pissarro at auctions worldwide.
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Variants on Artist's name :

Camille Pissarro

 

Artworks in Arcadja
1805

Some works of Camille Pissarro

Extracted between 1,805 works in the catalog of Arcadja
Camille Pissarro - Entrée Du Port Du Havre Et Le Brise-lames Ouest

Camille Pissarro - Entrée Du Port Du Havre Et Le Brise-lames Ouest

Original 1903
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Lot number: 233
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Description:
Camille Pissarro (1830-1903) Entrée du port du Havre et le brise-lames ouest signé et daté 'C. Pissarro. 1903' (en bas à droite) huile sur toile 23.7 x 34.5 cm. Peint en 1903 signed an dated 'C. Pissarro. 1903' (lower right) oil on canvas 9 5/8 x 13 5/8 in. Painted in 1903 Special Notice These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime. Import VAT is payable at 5,5% on the hammer price. VAT at 20% will be added to the buyer’’’’s premium but will not be shown separately on our invoice. Provenance Atelier de l'artiste. Georges Manzana-Pissarro, France (par descendance). Louise Gillou, Paris. Ravi Kumar, New York et New Delhi (avant 1964). Vente, Me Boisgirard, Paris, 8 décembre 1994, lot 20. Acquis au cours de cette vente par le propriétaire actuel. Literature J. Pissarro et C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Paris, 2005, vol. III, p. 920, no. 1521 (illustré). Exhibited Hiroshima Prefectural Art Museum et Tokyo, The Bunkamura Museum of Art, Monet and Renoir: Two Great Impressionist Trends, novembre 2003-mai 2004, p. 57, no. 26 (illustré en couleurs).
Camille Pissarro - Paysanne Donnant À Manger À Un Enfant.

Camille Pissarro - Paysanne Donnant À Manger À Un Enfant.

Original 1874
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Lot number: 64
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Description:
CAMILLE PISSARRO Paysanne donnant à manger à un enfant. Etching and aquatint printed in dark brownish black, 1874. 125x121 mm; 4 7/8x4 3/4 inches, wide (full ?) margins. Fourth state (of 4). With the artist's ink stamp initials (Lugt 613e, lower left recto) and numbered 1/12 in pencil, lower right. A very good impression. Delteil 12.
Camille Pissarro - Jeune Paysanne

Camille Pissarro - Jeune Paysanne

Original 1895
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Lot number: 20
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Description:
The French lithographer Georges Thornley conceived the work after a drawing by Camille Pissarro. Thornley had already collaborated with Degas and created a total of 25 motifs by Pissarro, which were initially published as a portfolio. The lithograph is in a good condition with signs of age and wear. The sheet is partially barely visibly toned along the edges and is severely soiled at lower part. At the upper part the paper bears remains of glue. The image dimensions measure 23.5 x 20 cm the sheet dimensions are 54.8 x 38.4 cm. The sheet is mounted to a mat with three photo corners. The passe-partout measures 69 x 54 cm. Camille Pissarro grew up on the Caribbean island of St. Thomas before he was sent to Paris at the age of eleven. In boarding school he learned drawing. Together with the painter Fritz Melbye he went Venezuela for three years, where both devoted themselves to drawing. Back in Paris Pissarro became a pupil of Melbye’’’’s brother Anton, a marine painter. At the Universal Exhibition, he discovered the art of Delacroix, Courbet and Corot, who would significantly influence him. After he made the acquaintance of Corot, he followed the latter’’’’s advice to paint nature, thus creating naturalistic landscapes in a dark colors. In 1859 Pissarro held his first exhibition at the Salon of the Académie Suisse. Here he met Monet and Cézanne, with whom he remained close friends for life. He joined the circle of artists at the Café Guerbois and collaborated with Monet and Renoir. In the following years his color palette became lighter and from the 1870s Pissarro was at the forefront of the French avant-garde, together with Monet and Cézanne. He was the only artist who participated in all eight Impressionist exhibitions. From 1880 his style changed again and he was a co-founder of Neo-Impressionism. Pissarro's oeuvre includes more than 2,000 paintings and just as many drawings and prints. After Camille Pissarro, Jeune Paysanne, Lithograph, 1895 Lithograph France, 1895, later print After Camille Pissarro (1830-1903) – one of the most significant painters of Impressionism Georges William Thornely (1857-1935) – French painter and printmaker Numbered in the plate ‘14’’’’ First published by Boussod-Valladon, Paris Image dimensions: 25.5 x 21 cm; Sheet dimensions: 54.8 x 38.4 cm Passe-partout: 69 x 54 cm Good condition Genre depiction of a young peasant woman cleaning her living room with a broom, the interior shows in a bold manner the farmers ways of live at the time of Pissarro
Camille Pissarro - Cavalier À L'orée D'un Bois

Camille Pissarro - Cavalier À L'orée D'un Bois

Original 1859
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Gross Price
Lot number: 207
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Description:
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
Camille Pissarro - L'hermitage En Été, Pontoise

Camille Pissarro - L'hermitage En Été, Pontoise

Original 1877
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Lot number: 27
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Description:
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
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