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Lot Essay
This work will be included in the Pissarro catalogue raisonné being prepared by the Wildenstein Institute.
Vue de Stamford Brook Common depicts a view near Bedford Park in West London where the artist's son, Lucien, lived in the 1890s. Pissarro travelled to England for the fourth time in the Spring of 1890 to be with Lucien who had been taken ill with a undiagnosed malady that had partially paralyzed him. 'Camille was at Eragny, painting the apple trees in their brief full blossom, when the message came; he hurried to England to be with Lucien, though he could do little to help him. Esther nursed her husband tenderly, feeding him, massaging his limbs day after day, wheeling him through Bedford Park in a bath-chair' (R. Shikes & P. Harper, Pissarro; His Life and Work, New York 1980, p. 297).
A mature artist at his prime, Pissarro had been working on a series of extremely evocative views of Eragny. His visit to London, although not in the happiest circumstances, provided him with an exciting, if rather unfamiliar, landscape which he handled in a very similar manner. Pissarro began working in late May and continued painting until mid-July, completing five other intimate and evocative views of Stamford Brook (Venturi, nos. 1005-1009). Lucien, accompanied by his wife and child, returned with his father to Eragny where he recovered from his illness.
Vue de Stamford Brook Common depicts a view near Bedford Park in West London where the artist's son, Lucien, lived in the 1890s. Pissarro travelled to England for the fourth time in the Spring of 1890 to be with Lucien who had been taken ill with a undiagnosed malady that had partially paralyzed him. 'Camille was at Eragny, painting the apple trees in their brief full blossom, when the message came; he hurried to England to be with Lucien, though he could do little to help him. Esther nursed her husband tenderly, feeding him, massaging his limbs day after day, wheeling him through Bedford Park in a bath-chair' (R. Shikes & P. Harper, Pissarro; His Life and Work, New York 1980, p. 297).
A mature artist at his prime, Pissarro had been working on a series of extremely evocative views of Eragny. His visit to London, although not in the happiest circumstances, provided him with an exciting, if rather unfamiliar, landscape which he handled in a very similar manner. Pissarro began working in late May and continued painting until mid-July, completing five other intimate and evocative views of Stamford Brook (Venturi, nos. 1005-1009). Lucien, accompanied by his wife and child, returned with his father to Eragny where he recovered from his illness.