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    Sale 1995

    Impressionist And Modern Art Day Sale

    7 May 2008, New York, Rockefeller Plaza

  • Lot 412

    Camille Pissarro (1830-1903)

    Entrée du port du Havre, temps gris

    Price Realised  


    Camille Pissarro (1830-1903)
    Entrée du port du Havre, temps gris
    signed and dated 'C. Pissarro. 1903' (lower right)
    oil on canvas
    10½ x 13½ in. (26.6 x 34.3 cm.)
    Painted in 1903

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    In the summer of 1903, Camille Pissarro traveled to the bustling port of Le Havre, where he produced a series of views of the harbor that is filled with energy. Le Havre, and especially its harbor, had been the subject of paintings by many other artists, including Eugène Boudin and Claude Monet. Although Pissarro found the harbor changed from their day, he was nonetheless intrigued by the endless movements of boats and people. This filled him with great enthusiasm, the scene constantly changing before his eyes as ships and workers came and left, each fleeting scene presenting the artist with a new subject matter from the same view. Reflecting this, Pissarro painted the series of Le Havre pictures, of which Entrée du port du Havre, temps gris is one, all taken from roughly the same vantage point--his room in the Hôtel Continental. This created a series that combines the rigorous discipline of the analysis of the same view with the ever-changing permutations of people and boats.

    Pissarro's pictures from Le Havre showed the artist, now approaching the end of his life, still fuelled with his thirst to innovate. Indeed, the series format that he used was itself more intensely focused than any of his previous groups of works. These works have often been the objects of praise, most recently in a perspicacious analysis from Joachim Pissarro, showing as they do Pissarro's ability to reinvent himself and his art even in the last year of his life. Pissarro was the Impressionist par excellence. In Entrée du port du Havre, temps gris, the gray weather and the industrial urbanity of the scene show that he was willing to disrupt the traditional aesthetic sense so favored by his companions, instead creating a work that is a lyrical paean to the real world, to real weather, and to modernity.


    Estate of the artist.
    Julie Pissarro, London (by descent from the above).
    Lucien Pissarro, London (gift from the above, 1921).
    Private collection, London (circa 1950).
    By descent from the above to the present owner.

    Saleroom Notice

    Please note the amended fourth line of provenance:
    Private collection, London (circa 1950).

    Pre-Lot Text



    L.-R. Pissarro and L. Venturi, Camille Pissarro, son art-son oeuvre, Paris, 1939, vol. I, p. 261, no. 1299 (illustrated, vol. II, pl. 252).
    J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Paris, 2005, vol. III, no. 1522 (illustrated, p. 920).


    Kunsthalle Bremen, Grosse Kunstausstellung, February-March 1910, possibly no. 267.
    Leipzig, Kunstverein, Ausstellung Französischer Kunst des 18., 19. und 20. Jahrhunderts, October-November 1910, possibly no. 127.
    London, Stafford Gallery, Pictures by Camille Pissarro, October 1911, possibly no. 34.
    London, Matthiesen Gallery, A Camille Pissarro Exhibition, June-July 1950, no. 37.
    London, Marlborough Fine Art, Ltd., Camille Pissarro and Alfred Sisley, June-July 1955, no. 27.
    London, Marlborough Fine Art, Ltd., Pissarro in England, June-July 1968, no. 29 (illustrated, p. 59).
    Ferrara, Palazzo dei Diamanti, Camille Pissarro, February-May 1998, no. 57 (illustrated, pp. 92-93).