Winkel & Magnussen, Copenhagen (acquired at the above sale and sold: American Arts Association, New York, April 6, 1922, lot 52)
Durand-Ruel, New York (acquired at the above sale)
(possibly) Georges Lecomte, Paris (acquired from the above)
Sam Salz, New York
Paul Shields, New York (acquired from the above in June 1958)
Barbara Shields Crowley
Estate of Barbara Shields Crowley (Sotheby's, New York, May 17, 1990, lot 14)
Connaught Brown, London
Acquired from the above in 2009
Neuchâtel, Société des Amis des Arts, 1919, Tableaux provenant des collections de M. le Conseiller d'État Hansen à Copenhague, no. 64
Copenhagen, V. Winkel & Magussen, 1919, French Painting, no. 675
Paris, Galerie Durand-Ruel, 1928, Tableaux par Camille Pissarro, no. 39
Paris, Musée de l'Orangerie, 1930, Centenaire de la Naissance de Camille Pissarro, no. 56 bis
Paris, Galerie Durand-Ruel, Pissarro (1830-1903), 1956, no. 46, illustrated in the catalogue
Françoise Cachin, Studies on Camille Pissarro, 1987, p. 96
Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Vol. II, Geneva, 2005, no. 675, illustrated in color p. 452
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 previously scarcely 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, views of roads and factories, to farmers working on the fields and isolated landscapes devoid of human presence.
Joachim Pissarro wrote about the motifs that characterized Pissarro's Pontoise pictures: "These endless combinations of contrasts and variable forces lend themselves to a thematic three-part opposition – intrinsic to the suburban world – between town, country, and their limits, or the intermediary formations that bind them together: the fringe, the villages nearby, the paths that lead to the town, the river, the kitchen gardens – all forms of transitions between field and town [...] Tensions of this type – rural/urban/suburban; nature/architecture/path; fields/path/building(s); city/river/bridge – are absolutely central to Pissarro's output in Pontoise, and clearly represent the focal points of his grasp of the antinomies inherent in suburban spaces. Out of these, Pissarro composed a poetical-pictorial ensemble with resounding evocative power. There emerged several possibilities: he may be seen at times creating an equilibrium between architecture and nature; the jardins potagers (kitchen gardens) offer a privileged vantage point from which to study such contrasts, as seen in Potager et arbres en fleurs, printemps, Pontoise [...] and a motif also studied by Cézanne and studied again a few years later by Pissarro in Kitchen Gardens, Pontoise [the present work]" (ibid., pp. 114-115).
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