Sotheby's /Nov 6, 2013
€1,828,287.26 - €2,559,602.16
Artworks in Arcadja1475
Some works of Camille PissarroExtracted between 1,475 works in the catalog of Arcadja
Auction: Galerie Koller -Dec 6, 2013 - ZurichLot number: 3606
Other WORKS AT AUCTION
Auktion Z35 Lot 3606 - 07 December 2013 14:00 * PISSARRO, CAMILLE (Charlotte Amalie 1830 - 1903 Paris) Baigneuse vue de dos. 1895. Etching, 4th state. Signed lower right: C. Pissarro, inscribed lower left: 4e ep. d'état, also entitled centre bottom: baigneuse vue de dos (cuivre). Image 8.9 x 7.4 cm on wove paper 20.5 x 21.2 cm. Catalogue raisonné: Delteil/Cailac, No. 121, 4th state. Literature: Leymarie, Jean/ Melot, Michel, Französische Impressionisten. Das Graphische Werk von Manet, Pissarro, Renoir, Cézanne, Sisley, Munich 1971, No. P116. CHF 5 000.- / 7 000.- € 4 170.- / 5 830.- * PISSARRO, CAMILLE (Charlotte Amalie 1830 - 1903 Paris) Baigneuse vue de dos. 1895. Radierung, 4. Zustand. Unten rechts signiert: C. Pissarro, unten links bezeichnet: 4e ep. d'état, sowie unten mittig betitelt: baigneuse vue de dos (cuivre). Darstellung 8,9 x 7,4 cm auf Vélin 20,5 x 21,2 cm. Werkverzeichnis: Delteil/Cailac, Nr. 121, 4. Zustand. Literatur: Leymarie, Jean/ Melot, Michel, Französische Impressionisten. Das Graphische Werk von Manet, Pissarro, Renoir, Cézanne, Sisley, München 1971, Nr. P116. CHF 5 000.- / 7 000.- € 4 170.- / 5 830.-
Other WORKS AT AUCTION
Camille Pissarro (French, 1831-1903) [Hommes aux faucilles], 1884, signed lower right "C.P.", inscribed lower right "O.C.P. (8)III (?)8" and inscribed verso in pencil "20324-1" and "9244 Hanney", charcoal on brown paper, 9-3/4 x 12 in.; gilt wood frame, taped with paper tape verso top at two points, toning and light handling creases, small pin holes upper right and lower left, small tear at lower right corner Lot Notes: Exhibited: Leicester Galleries, London, February 1967 (label verso)
Auction: Christie's -Nov 6, 2013 - New YorkLot number: 141
Other WORKS AT AUCTION
Camille Pissarro (1830-1903) Femme raccommodant des bas signed and dated 'C. Pissarro 81' (upper left) gouache on paper 12 3/8 x 9 7/8 in. (32 x 25.1 cm.) Painted in 1881 Anon. sale, Hôtel Drouot, Paris, 29 April 1901, lot 56. Anon. sale, Sotheby Parke Bernet, Inc., New York, 26 May 1976, lot 206A. Acquired at the above sale by the family of the present owner. PROPERTY OF A PRIVATE NEW YORK COLLECTOR L.-R. Pissarro and L. Venturi, Camille Pissarro, Son art, son oeuvre, Paris, 1939, vol. I, p. 269, no. 1355 (illustrated vol. II, pl. 265). This work will be included in the forthcoming Camille Pissarro catalogue critique of pastels and gouaches, currently being prepared under the sponsorship of the Wildenstein Institute. Claire Durand-Ruel Snollaerts has confirmed the authenticity of this work. One of the largest and most significant groups of paintings that Pissarro made during the 1880s portrays rural women engaged in everyday chores out of doors and in--watering the garden, digging, picking cabbages, pushing wheelbarrows, gathering grass, tending animals and sewing, as in the present work--and at rest (fig. 1). Impressionist scholar Richard Brettell has written, "These works are a major contribution to Impressionist figure painting and are, in effect, a critical part of the collective Impressionist portrait of contemporary French society" (Pissarro's People, exh. cat., Sterling and Francine Clark Art Institute, Williamstown and elsewhere, 2011, p. 171). The quiet reverie of the peasant in the present gouache is contrasted with the intensity of the artist's own labor, which is recorded in the composition's dense facture of overlapping strokes. Joachim Pissarro has noted, "Even at the height of his Neo-Impressionist period, Pissarro took definite liberties with the 'scientific' rigor of the theories in which he, Seurat, and Signac shared a passionate interest... balancing, in a constant tension, rigor and improvisation, system and individual freedom, science and poetry" (ibid., p. 221). Femme raccommodant des bas first appeared at auction in 1901 shortly before the artist's death and thereafter in 1976, at which sale the family of the present owner acquired it. (fig. 1) Camille Pissarro, Young Peasant Woman Drinking Her Café au Lait, 1881. The Art Institute of Chicago.
Auction: Sotheby's -Nov 6, 2013 - New YorkLot number: 35
Other WORKS AT AUCTION
Provenance Galerie Durand-Ruel, Paris (acquired from the artist on September 8, 1886) Durand-Ruel Galleries, New York (acquired from the above in 1887) Allston Burr, United States (acquired from the above on March 25, 1915) Durand-Ruel Galleries, New York (acquired from the above on June 1, 1924, and owned until at least 1948) Sam Salz, New York (acquired in 1955) Mr. & Mrs. Josef Rosensaft, New York (acquired from the above in March 1957 and sold: Sotheby Parke Bernet, New York, March 17, 1976, lot 34) Private Collection (acquired at the above sale and sold: Christie’’s, New York, May 14, 1997, lot 30) Richard Green, London Acquired from the above by the present owner Exhibited Paris, Galerie Georges Petit, Exposition internationale de peinture et de sculpture, 1887, no. 105 New York, Durand-Ruel Galleries, Paintings by Camille Pissarro – Views of Rouen, 1897, no. 32 New York, Durand-Ruel Galleries, Paintings by Camille Pissarro, 1903, no. 24 Memphis, Brooks Memorial Art Gallery, Modern European Painting, 1924, no. 19 Baltimore, Museum of Fine Art, Exhibition of Modern French Art, 1925, no. 99 Toronto, The Art Gallery of Ontario, Inaugural Exhibition, 1926, no. 83 Rochester, Memorial Art Gallery of the University of Rochester, Inaugural Exhibition Commemorating the Opening of the Enlarged Gallery, 1926, no. 153 Dallas, Fair Park Gallery, State Fair of Texas, 1933, no. 67 New York, Durand-Ruel Galleries, Paintings – Camille Pissarro, 1936, no. 4 Vevey, Musée Jenisch, De Monet à Chagall: Collection Rosensaft, 1958, no. 16 New York, Acquavella Galleries, Four Masters of Impressionism, 1968, no. 42 illustrated in color in the catalogue New York, Wildenstein & Co., One Hundred Years of Impressionism: A tribute to Durand-Ruel, 1970, no. 64 Jerusalem, Israel Museum & New York, Jewish Museum, Camille Pissarro, Impressionist Innovator, 1995, no. 79, illustrated in color in the catalogue PROPERTY FROM A PRIVATE BRITISH COLLECTION Camille Pissarro 1831 - 1903 PRAIRIE À ÉRAGNY Signed C. Pissarro and dated 1886 (lower right) Oil on canvas 24 1/2 by 28 7/8 in. 59.4 by 73 cm Painted in 1886.
Auction: Christie's -Nov 5, 2013 - New YorkLot number: 44
Other WORKS AT AUCTION
Lot Description Camille Pissarro (1830-1903) Paysage avec maisons et mur de clôture, givre et brume, Eragny signed and dated 'C. Pissarro. 1892' (lower left) oil on canvas 18 1/8 x 21 5/8 in. (46 x 55 cm.) Painted in 1892 Provenance Auguste M. Lauzet, Paris (gift from the artist); sale, Hôtel Drouot, Paris, 9 May 1895, lot 28. Galerie Durand-Ruel et Cie., Paris (acquired at the above sale). The Lefevre Gallery (Alex. Reid & Lefevre), London (acquired from the above, 25 November 1936). Sir Cyril Radcliffe, London (acquired from the above, 9 December 1936). The Lefevre Gallery (Alex. Reid & Lefevre), London (acquired from the above, 10 November 1943). Captain Richard A. Peto, Isle of Wight (acquired circa 1945). The Lefevre Gallery (Alex. Reid & Lefevre), London (acquired from the above, 4 November 1949). E.J. van Wisselingh & Co., Amsterdam (acquired from the above, 29 December 1949). A.J. Blijdenstein, Enschede, The Netherlands (acquired from the above, 1950). Private collection, The Netherlands (by descent from the above); sale, Christie's, London, 28 November 1994, lot 7. Private collection, United States (acquired at the above sale); sale, Sotheby's, London, 19 June 2006, lot 34. Acquired at the above sale by the present owner. Literature L.R. Pissarro and L. Venturi, Camille Pissarro, son art--son oeuvre, Paris, 1939, vol. I, p. 190, no. 778, (illustrated, vol. II, pl. 160). J. Bailly-Herzberg, Correspondance de Camille Pissarro, Paris, 1988, vol. III, p. 311, no. 872. J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures, Milan, 2005, vol. III, p. 631, no. 968 (illustrated in color). Exhibited Paris, Galerie Durand-Ruel, Oeuvres récentes de Camille Pissarro, March 1893, no. 19. Berlin, Galerie Paul Cassirer, Pissarro, March 1904, no. 27. Tokyo, Metropolitan Museum of Art, Sixième exposition d'art français contemporain, March 1927, no. 472. London, The Lefevre Gallery, Pissarro and Sisley, January 1937, no. 12 (titled Le jardin de l'artiste à Eragny en hiver). Cambridge, England, Regional Exhibition Room; Southampton, Art Gallery and Falmouth, Polytechnic, French Paintings from Mr Peto's Collection, February-April 1948, p. 8, no. 17 (titled The Garden at Eragny). Rotterdam, Museum Boymans-van Beuningen, Kunstschatten uit Nederlandse Verzamelingen, June-September 1955, pp. 86-87, no. 204 (illustrated, p. 193). Almelo, Kunstkring de Waag, Van Daumier tot Picasso: twents particulier bezit, March-April 1956, no. 113. Amsterdam, E.J. van Wisselingh & Co., Maîtres français XIXe et XXe siècles: tableaux provenant de collections particulières néerlandaises, May-June 1962, no. 40 (illustrated; titled Paysage brume et givre). Laren, Singer Museum, Schilderkunst uit la belle époque, July-September 1964, p. 22, no. 57 (illustrated, fig. 4). View Lot Notes > Painted in 1892, Camille Pissarro's Paysage avec maisons et mur de clôture, givre et brume, Eragny perfectly demonstrates the artist's ability to take a seemingly understated, essentially simple motif and imbue it with the freshness and sensation that lay at the heart of Impressionism. This picture's rich surface features darting, zig-zagging brushstrokes that capture the appearance of the leafless trees of this winter landscape at Eragny in such a way that they are filled with dazzling vitality. Combined with the muted colors of this frozen scene, these brushstrokes allow Pissarro to create a picture that balances on the brink of a rhythmic abstraction, revealing the foundation of his affinity with the Neo-Impressionists. This is clear in the build-up of paint in the ground area in particular, where closer inspection reveals a kaleidoscopic wealth of different colors that all combine to create a harmonious effect. The entire muted winter palette is relieved by this, and also by the red of the brick houses, while the spectral trees in the background add to the sense of rhythmic progression that underpins this composition, with its verticals and its strong horizontals. Paysage avec maisons et mur de clôture, givre et brume, Eragny shows a similar view to another painting from circa 1890, a more sketch-like impression of the same view painted in a vertical format, revealing his long-standing fascination with this subject. It is a reflection of the quality of the present work that it featured in Pissarro's second one-man show, held at Galerie Durand-Ruel the year after it was painted. This exhibition received several favorable reviews, for instance from Gustave Geffroy, and later, Georges de Bellio. Paysage avec maisons et mur de clôture was sold at an auction held in 1895 in aid of the artist Auguste Lauzet who during the year that this picture was painted had etched illustrations of some of Pissarro's works for the publication of L'art Impressionniste d'après la collection de Paul Durand-Ruel; it was Durand-Ruel who purchased this picture, alongside twelve others, at the auction, as was recorded in a note attached to letter 872 in Pissarro's correspondence.