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Camille Pissarro
LE PONT-ROYAL, APRÈS-MIDI, TEMPS COUVERT
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.
1,200,0001,800,000
LOT SOLD. 1,300,000 GBP
JUMP TO LOT
23
Camille Pissarro
LE PONT-ROYAL, APRÈS-MIDI, TEMPS COUVERT
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.
1,200,0001,800,000
LOT SOLD. 1,300,000 GBP
JUMP TO LOT

Details & Cataloguing

Impressionist, Modern & Surrealist Art Evening Sale

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London

Camille Pissarro
1830 - 1903
LE PONT-ROYAL, APRÈS-MIDI, TEMPS COUVERT
signed C. Pissarro and dated 1903 (lower left)
oil on canvas
50.7 by 65cm.
20 by 25 5/8 in.
Painted in 1903. 
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Provenance

Galerie Bernheim-Jeune, Paris

Galerie Durand-Ruel, Paris (acquired from the above on 29th November 1917)

Duval-Fleury, Paris (acquired from the above on 25th March 1918)

Philippe Bemberg, Lausanne & Paris (acquired circa 1964)

Private Collection (by descent from the above. Sold: Sotheby’s, Paris, 23rd March 2018, lot 204)

Purchased at the above sale by the present owner

Exhibited

Copenhagen, Charlottenborg, Fransk Malerkunst, 1918, no. 191, illustrated in the catalogue (titled Le Pont Royal, Paris. Après-midi, temps gris)

Lausanne, Palais de Beaulieu, Chefs-d'œuvre des collections suisses de Manet à Picasso, 1964, no. 56, illustrated in the catalogue (titled Le Pont Royal, après-midi, temps gris)

Paris, Hôtel de Ville, Paris sous le ciel de la peinture, 2000, illustrated in colour in the catalogue (titled Pont Royal, après-midi de pluie, temps gris)

Literature

Ludovic-Rodo Pissarro & Lionello Venturi, Camille Pissarro, son art - son œuvre, Paris, 1939, vol. I, no. 1294, catalogued p. 260; vol. II, no. 1294, illustrated pl. 251 (titled Pont Royal, après-midi, temps gris)

John Rewald, C. Pissarro, Paris, 1974, no. 48, illustrated (incorrectly captioned)

Janine Bailly-Herzberg, Pissarro et Paris, Paris, 1992, illustrated p. 127 (titled Pont Royal, après-midi, temps gris)

Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Paris, 2005, vol. III, no. 1487, illustrated in colour p. 900

Catalogue Note

In 1897 Pissarro returned to Paris once more to dedicate his time to capturing the essence of modern life in the city. Although he had settled in the village of Eragny in Normandy in 1884 to paint the tranquillity of the French countryside, many of his pastoral scenes from this time in fact include figures, demonstrating Pissarro’s unwavering interest in the relationship between man and his environment. This curiosity brought Pissarro back to the bustling boulevards and lively cafés of the capital and led to his last and most celebrated series of Paris cityscapes.

Beginning with the Gare Saint-Lazare in 1897, Pissarro’s depictions of Paris swiftly moved on to the Boulevard Montmartre and the Boulevard des Italiens. The following year, he painted a series of views of the Avenue de l’Opéra and the Jardins des Tuileries before painting the nearby Square du Vert-Galant and the Pont Neuf. Each time the artist would stay in a hotel room or rent an apartment allowing him to paint from his window and repeat the motif in different variations reflecting the changing light, weather or season. Le Pont-Royal, après-midi, temps couvert belongs to his fourth and final series created from the artist’s room at the Hôtel du Quai Voltaire on the left bank, overlooking the Pont Royal and the Jardins des Tuileries. A closely related painting from the same year, Le Pont-Royal et le pavillon de Flore, temps gris now in the Musée du Petit Palais in Paris shows the same scene from a slightly different angle on the Quai Voltaire including the south-west end of the Louvre (fig. 1).

From the artist’s position in his apartment we are offered a higher viewpoint than at street level. It creates a broad field of vision in which Pissarro was able to observe and capture the constant flow of city life. Pedestrians and carriages are captured with hurried brushstrokes emphasising the dynamic movement of the metropolis. The richly painted sky in the upper half of the canvas beautifully illustrates Pissarro’s appreciation of texture and brushwork and its ability to convey liberty, spontaneity and the sense of freshness that were key to the artist’s œuvre.

Impressionist, Modern & Surrealist Art Evening Sale

|
London