- 197
Camille Pissarro
Estimate
400,000 - 600,000 USD
bidding is closed
Description
- Camille Pissarro
- Vue de Bazincourt en hiver
- Signed C. Pissarro. and dated 98 (lower left)
- Oil on canvas
- 18 1/8 by 21 5/8 in.
- 46 by 55 cm
Provenance
Julie Pissarro, France (the artist's wife; by descent in 1904)
Jeanne-Bonin Pissarro, France (the artist's daughter; a gift from the above in 1921)
Jacques Dubourg, Paris (acquired in 1948)
Sale: Palais d’Orsay, Paris, March 22, 1979, lot 68
Sale: Christie’s, London, July 3, 1979, lot 52
Galerie Daniel Malingue, Paris
R. Fraser Elliott, Toronto (acquired from the above in 1979)
A gift from the estate of the above in 2005
Jeanne-Bonin Pissarro, France (the artist's daughter; a gift from the above in 1921)
Jacques Dubourg, Paris (acquired in 1948)
Sale: Palais d’Orsay, Paris, March 22, 1979, lot 68
Sale: Christie’s, London, July 3, 1979, lot 52
Galerie Daniel Malingue, Paris
R. Fraser Elliott, Toronto (acquired from the above in 1979)
A gift from the estate of the above in 2005
Literature
Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Paris, 2005, no. 1242, illustrated in color p. 774
Condition
The painting is not lined. The impasto is strong and lively. When examined under UV light there is evidence of minor in-painting to the upper right edge of the canvas, no other visible evidence of retouching. The varnish is a little yellow. The work is in very good condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Vue de Bazincourt en hiver was painted after Pissarro abandoned the Neo-Impressionist aesthetic and joyously returned to working en plein air rather than secluded in his studio. He exclaimed to Monet, “It seemed so good to me to work outside, it had been two years since I last dared to attempt the adventure” (quoted in Joachim Pissarro, Camille Pissarro, New York, 1993, p. 224).
During the last twenty years of his life, Pissarro focused his attention on the pastures of small French villages outside of Normandy, particularly Eragny-sur-Epte and Bazincourt. These landscape paintings have a distinct compositional organization as well as a heightened vantage point, such as in the present work, where the steeple of the church at Bazincourt peeks out of the treetops in the distance, across the meadows at Éragny.
One related painting, Vue de ma fenêtre, Éragny dating from 1886-88 and now in the Ashmolean Museum of Art and Archaeology in Oxford, was executed from a second-floor window in the artist's house (see fig. 1). This work encompasses a view of the family's garden in the foreground of the fields between Éragny and Bazincourt which is bisected by a high wall pulled down in 1893 when the barn was converted into a studio for the artist.
During the last twenty years of his life, Pissarro focused his attention on the pastures of small French villages outside of Normandy, particularly Eragny-sur-Epte and Bazincourt. These landscape paintings have a distinct compositional organization as well as a heightened vantage point, such as in the present work, where the steeple of the church at Bazincourt peeks out of the treetops in the distance, across the meadows at Éragny.
One related painting, Vue de ma fenêtre, Éragny dating from 1886-88 and now in the Ashmolean Museum of Art and Archaeology in Oxford, was executed from a second-floor window in the artist's house (see fig. 1). This work encompasses a view of the family's garden in the foreground of the fields between Éragny and Bazincourt which is bisected by a high wall pulled down in 1893 when the barn was converted into a studio for the artist.