Camille Pissarro

Durand-Ruel, Paris (acquired directly from the artist in April 1888)
Mme de La Chapelle, Paris (acquired from the above in April 1937)
Dr Alfred Gold, Paris (acquired circa May 1937)
Sam Salz, New York (acquired circa September 1937)
Sale: Hôtel Drouot, Paris, 30th March 1938, no. 26
Galerie Max Kaganovitch, Paris (purchased at the above sale)
George Bigar, New York (acquired circa 1950)
David B. Findlay, New York
Douglass Boshkoff, Bloomington, Indiana (acquired from the above in 1965)
Peter Findlay Gallery, New York (acquired from the above circa 1993)
Simon Capstick-Dale, New York (acquired from the above)
Acquired from the above by the present owner in July 1998

Paris, Galerie Max Kaganovitch, Oeuvres choisies des XIXe et XXe siècles, 1938, no. 31

Ludovic Rodo-Pissarro & Lionello Pissarro, Camille Pissarro, son art - son oeuvre, Paris, 1939, vol. I, no. 533, catalogued p. 156; vol. II, no. 533, illustrated pl. 109
Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro. Catalogue critique des peintures, Paris, 2005, vol. II, no. 668, illustrated in colour p. 447

The canvas is lined. There are scattered specks of retouching at intermittent areas to the sky, mainly along the horizon and two further specks of retouching to the signature, all visible under UV light. This work is in good condition. Colours: Fairly accurate although the colours in the sky are richer in the original.
"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."

Painted in 1881, the present work is a delightful example of Impressionism from one of its main contributors - Camille Pissarro. His landscapes of Pontoise and Osny in the early 1880s were amongst the most interesting of the artist's career and stem from a fascinating time of his life when he became great friends and tutors of both Paul Gauguin and Paul Cézanne.

The present work depicts a landscape near the town of Pontoise, where Pissarro and his family lived from 1866 until 1883. Executed in quick brushstrokes of complimentary colours, this rich, shimmering landscape shows the artist at the height of his Impressionist style. As Joachim Pissarro observed: 'During his years in Pontoise, Pissarro was deeply involved with the Impressionist group and was seen not only as a committed Impressionist artist until at least 1882, but also as an ardent defender of the group's function as an alternative to the Salons. In fact, he created the legal structure of the Impressionist group by establishing the only legal document defining its purpose and aim. He was the only artist to exhibit in all eight Impressionist exhibitions' (Joachim Pissarro, Camille Pissarro, New York, 1993, p. 90).

In August 1872, Paul Cézanne moved to Pontoise, where he joined Pissarro, and soon afterwards settled in the neighbouring town of Auvers-sur-Oise, the subject of the present work. 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.