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CAMILLE PISSARRO | Portrait du peintre Ludovic Piette, avec son chapeau rond
Estimate
70,000 - 100,000 EUR
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Description
- Camille Pissarro
- Portrait du peintre Ludovic Piette, avec son chapeau rond
- signed C. Pissarro (upper right)
- pastel on paper
- 44,3 by 30,8 cm; 17 1/2 by 12 1/8 in.
- Executed circa 1874.
Provenance
Gabriel Picard, Paris
Sale : Sotheby's, London, July 1, 1987, lot 423
Private collection, Germany (and sold : Villa Grisebach, Berlin, June 1, 1990, lot 7)
Sale : Christie's, London, December 9, 1999, lot 522
Acquired at the above sale by the present owner
Sale : Sotheby's, London, July 1, 1987, lot 423
Private collection, Germany (and sold : Villa Grisebach, Berlin, June 1, 1990, lot 7)
Sale : Christie's, London, December 9, 1999, lot 522
Acquired at the above sale by the present owner
Exhibited
London, Stephen Ongpin Fine Art, The Art of pastel, three centuries of works on paper, 2014, no. 10, illustrated in the catalogue
Literature
Christophe Duvivier, "Ludovic Piette, l'ami de Camille Pissarro," in Vivre en Val d'Oise, 1997-98, no. 47, illustrated p. 8
Ludovic Rodo Pissarro & Lionello Venturi, Camille Pissarro, Son art - son œuvre, Paris, 1939, vol. I, no. 1524, p.291 & vol. II, illustrated pl. 293
Ludovic Rodo Pissarro & Lionello Venturi, Camille Pissarro, Son art - son œuvre, Paris, 1939, vol. I, no. 1524, p.291 & vol. II, illustrated pl. 293
Condition
Please contact the Impressionist and Modern Art Department for the condition report for this lot.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
This work will be included in the forthcoming Camille Pissarro Digital Catalogue Raisonné, being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.
Ludovic Piette was born in 1829 in a family of notables in the Mayenne in North Western Fance. He developed a passion for painting very early on and, in 1850, he started paying frequent visits to Isidore Pils's workshop, then Thomas Couture's, where he met Edouard Manet. He also took classes at the Académie Suisse, alongside Paul Cezanne, Claude Monet and Camille Pissaro. It was probably there that he met the latter, who was to become one of his closest friends. The two painters spent a lot of time together at Pissaro's home in Pontoise outside Paris, as well as in Piette's country estate of Montfoucault. In 1863, they began a long correspondence that lasted until 1877, the year before Piette's. This correspondence was to become a precious testimony of the early formative years of the Impressionist movement.
In this magnificent pastel, Pissarro portrays his friend with his large hat and bohemian scarf, clearly the trappings of an artist and surely the way Piette probably often dressed when they took walks in the countryside in search of subjects to paint en plein-air. This very accomplished portrait is both a moving testimony to an authentic artistic complicity as well as, with it lively and audacious use of pastel, a remarkable example of a genuinely impressionist portrait from the golden age of the movement.
Ludovic Piette was born in 1829 in a family of notables in the Mayenne in North Western Fance. He developed a passion for painting very early on and, in 1850, he started paying frequent visits to Isidore Pils's workshop, then Thomas Couture's, where he met Edouard Manet. He also took classes at the Académie Suisse, alongside Paul Cezanne, Claude Monet and Camille Pissaro. It was probably there that he met the latter, who was to become one of his closest friends. The two painters spent a lot of time together at Pissaro's home in Pontoise outside Paris, as well as in Piette's country estate of Montfoucault. In 1863, they began a long correspondence that lasted until 1877, the year before Piette's. This correspondence was to become a precious testimony of the early formative years of the Impressionist movement.
In this magnificent pastel, Pissarro portrays his friend with his large hat and bohemian scarf, clearly the trappings of an artist and surely the way Piette probably often dressed when they took walks in the countryside in search of subjects to paint en plein-air. This very accomplished portrait is both a moving testimony to an authentic artistic complicity as well as, with it lively and audacious use of pastel, a remarkable example of a genuinely impressionist portrait from the golden age of the movement.