Camille PISSARRO (1830 - 1903)

Lot 21
Go to lot
Estimation :
150000 - 200000 EUR
Result with fees
Result : 377 000EUR
Camille PISSARRO (1830 - 1903)
Le grand noyer à Éragny, automne, esquisse Oil on canvas Signed with the initials stamp (L. 613a) lower right Annotated "Printemps/Éragny (Esquisse)" and numbered "213" on the reverse Oil on canvas, stamped with the artist's initials (L. 613a) lower right and annotated "Printemps/Éragny (Esquisse)" and numbered "213" on the reverse 38,5 x 46 cm - 15 1/8 x 18 1/8 in. PROVENANCE - Collection Paul-Émile Pissarro (by descent, 1904) - A. & R. Ball, New York - Alice Tully Collection, New York (acquired from the former) - Sale, Impressionist and Modern paintings, Drawings and Sculpture, Christie's, New York, 10 November 1994, lot 139 (titled Printemps à Éragny) - Sale, 19th Century Paintings, Drawings - Sculpture, Sotheby's, Tel Aviv, 11 October 1995, lot 10 (titled Printemps à Éragny) - Private collection (acquired during previous sale) - Sale, Impressionist & Modern Art, Sotheby's, London, February 6, 2013, lot 323 (titled Le grand noyer à Éragny, automne) BIBLIOGRAPHY - Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: His Art, His Work, Paris: Paul Rosenberg, 1939, referenced volume I as no. 742, p. 185 and reproduced volume II, pl. 155 - Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: A Critical Catalogue of Paintings, Paris and Milan: Wildenstein Institute and Skira, 2005, volume III, n°897, reproduced p. 590 "It was three kilometers from Gisors, in the village of Éragny, on the banks of the Epte, that Pissarro and his family, after having left Osny in April 1884, finally found the house they had been longing for: "Yes, we have decided to go to Éragny-sur-Epte; the house is superb and not expensive: one thousand francs, with garden and meadows. It is two hours from Paris, I found the country more beautiful than Compiègne [...] but Gisors is superb, we had seen nothing! [The artist rented this large house for eight years from a certain Dallemagne before acquiring it on July 19, 1892, at Julie's insistence and with the help of Monet, from whom he borrowed 15,000 francs (current address of the house: 29, rue Camille-Pissarro). Having become the owner of the house, he undertook works: in 1893, he converted the barn in front of his house into a studio and slightly modified his garden (see n°1030). After the death of her husband, Julie continued to live there until her death in 1926. She herself was from a rural background and was very popular in the village and regularly participated in the work in the fields. Her husband, on the other hand, was an original and cultivated political ideas that were not always well understood by the local population. In 1880, Éragny was a very small village with a population of four hundred and seventy-seven. Located in the French Vexin, seventy-two kilometers northwest of Paris, Éragny was separated from Bazincourt, the nearest village, by the Epte, a long, winding river that merged with the Seine near Giverny, where Monet had taken up residence in 1883. A small bridge, never visible in Pissarro's paintings, crosses the Epte: a mere fifteen minutes' walk separates the two villages. [...] In Éragny, Pissarro executed almost the same number of paintings, gouaches, pastels and watercolors as in Pontoise (a little less than three hundred and fifty oils), in a much smaller area! Although he had been seduced by the countryside around Gisors when he was looking to leave Osny, he hardly ever walked there with his easel. [But the artist, to Julie's despair, never stayed very long in his house in Éragny: "When I told your mother that I absolutely had to renew my motives and my effects, so as not to fall into monotony, she declared that she would go with me [...] which would be absurd [...] how could studies be done which require a great concentration of one's faculties and absolute moral and physical tranquility?... [JBHIII, no. 990.] Indeed, bored by Bazincourt and by his garden of Éragny, he was often absent: "I have enough of the motives of Bazincourt, with its nice bell tower, I need to make me a good new series, where will I go?" [JBHIII, No. 989.In order to vary the sites, Pissarro decided to alternate between the two extremes, moving from a small, fully rural village to the noisy, bustling urban world as he went: In addition to Paris, he developed his series of urban views by staying in port cities such as Rouen, Dieppe and Le Havre; he interspersed these long study stays with short trips to summer resorts accompanied by his family (Berneval and Varengeville) and went several times to London to see his sons and once to Belgium. He regularly traveled to the capital to present his paintings to his dealers, to look for amateurs, to organize his exhibitions, to meet his friends, to paint and to keep in touch with the world.
My orders
Sale information
Sales conditions
Return to catalogue