154
154

PROPERTY FROM A DISTINGUISHED ASIAN COLLECTION

Camille Pissarro
ROUTE ENNEIGÉE AVEC MAISON, ENVIRONS D'ERAGNY
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Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
450,000650,000
LOT SOLD. 711,000 USD
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154

PROPERTY FROM A DISTINGUISHED ASIAN COLLECTION

Camille Pissarro
ROUTE ENNEIGÉE AVEC MAISON, ENVIRONS D'ERAGNY
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
450,000650,000
LOT SOLD. 711,000 USD
JUMP TO LOT

Details & Cataloguing

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Camille Pissarro
1830 - 1903
ROUTE ENNEIGÉE AVEC MAISON, ENVIRONS D'ERAGNY
Signed C. Pissarro and dated 1885 (lower left)
Oil on canvas
13 by 16 1/8 in.
33.5 by 41 cm
Painted in 1885. 
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Provenance

Dr. Störe, Zurich (and sold: Kunstsalon Orell Fussli-Hof, Zurich, November 26, 1927, lot 201)
Hans Wirth, Siebnen (acquired at the above sale)
Private Collection, Switzerland (acquired from the above in 1954)
Acquired by 1998

Exhibited

London, Royal Academy of Art; Washington, D.C., Phillips Collection & San Francisco, Fine Arts Museum of San Francisco, Impressionists in WinterEffets de neige, 1998-99, no. 45, illustrated in color in the catalogue

Literature

Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, vol. III, Paris, 2005, no. 784, illustrated in color p. 517

Catalogue Note

Winter landscapes have a long and storied tradition in the history of Western art. As Charlie Moffett wrote on the occasion of the landmark exhibition Impressionist in Winter: Effets de Neige, “The history of snowscapes in European paintings reaches back as far as the Limbourg Brothers’ Les Trés riches heures du duc de Berry of about 1415” (Impressionists in Winter Effets de Neige (exhibition catalogue), The Phillips Collection, Washington, D.C., 1999, p. 13; see fig. 1). The snowscapes conceived by Monet, Sisley and Pissarro and other Impressionists are among the greatest masterpieces of this genre. In true Impressionist fashion, each artist was drawn to the challenges of capturing the subtleties of winter light, crispy air and reflective qualities of the snow-covered landscape.

While Monet braved icy winds in the early 1860s to capture the wintry atmosphere at Honfleur and the Seine Valley, Pissarro’s foray into winter scenes began later in the decade when he moved from Pontoise to a home called Maison Retrou in Louveciennes. By early December 1869, as temperatures dipped below freezing, Monet arrived for an extended visit in the town, settling into the countryside with his own family. Monet sought comfort and strength in the company of a like-minded artist after his two submissions to the 1869 Salon were rejected. His financial woes at this time also motivated him to visit the Pissarros, with whom he hoped to share resources during his stay. Shortly after Monet's arrival in Louveciennes, a heavy snow fall blanketed Paris and its western suburbs. Pissarro and Monet ventured into the bitter cold with their easels to capture the transformed landscape on the road outside Maison Retrou. It was here that the pair, working side-by-side en plein air, immortalized on canvas the idyllic atmosphere of the quiet snow-covered town. Pissarro’s Route de Versailles, Louveciennes, Winter Sun and Snow, one of his earliest winter canvas, was painted around this time, likely in the company of Monet (see fig. 2).

Pissarro’s interest in winter landscapes lasted throughout his career and extended well past his escape to the countryside in Eragny and Louveciennes. He frequently captured snowscapes wherever he traveled, depicting scenes of Pontoise, Osny, Paris and Montfoucault. As Moffett wrote, “Despite the wide variety of content and composition, these winterscapes have in common Pissarro’s enduring love of nature, his great fascination with light and shadow, and his interest in humanity…” (ibid., p. 39). When he eventually returned to Paris after life in the rural tranquility of Eragny, the artist moved into an apartment at the Grand Hôtel de Russie on the Boulevard Montmartre. From this vantage point, Pissarro painted a series of views of the bustling street beneath him, at varying times of day and during different seasons. In Boulevard Montmartre, matin d'hiver, Pissarro depicts the frenzy of pedestrians and carriages going about their business on a winter's morning, the bare branches of the trees along the Haussmannian thoroughfare a sign of the season (see fig. 3). Toward the end of his life, Pissarro completed Le Louvre sous la neige, a work that captures the drama of a snowstorm blanketing the landmarks along the Seine, such as the Pont-des-Arts and the Louvre (see fig. 4).

The energetic brushwork and strong contrast between pigments evident in the present work evoke the proto-Pointilist style Pissarro developed in the 1880s, when this work was completed (ibid., p. 162). As Moffett writes, “these new works were produced in a studio with much less influence from nature. As a result, his commitment to painting effets de neige was temporarily suspended for several years while he allied himself with the Neo-Impressionists” (ibid., p. 51). However, Pissarro’s four-year foray into Neo-Impressionism techniques was short-lived. He eventually returned to painting the snaking riverbanks and provincial subjects for which he is so well-known.

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