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Camille Pissarro (1830-1903)
PROPERTY FROM THE JOHN C. WHITEHEAD COLLECTION
Camille Pissarro (1830-1903)

Pommiers en fleurs, Eragny

Details
Camille Pissarro (1830-1903)
Pommiers en fleurs, Eragny
signed 'C. Pissarro' (lower left)
oil on board laid down on panel
8 ¾ x 11 in. (22 x 28 cm.)
Painted in Eragny circa 1900
Provenance
Eugène Blot, Paris; sale, Hôtel Drouot, Paris, 9-10 May 1900, lot 139.
Galerie Georges Petit, Paris.
Private collection, Switzerland.
Anon. sale, Palais Galliéra, Paris, 11 June 1974, lot 29.
Reuben Hecht, Haifa.
Nathan Bernstein, New York.
Acquired by Achim Moeller Fine Art on behalf of John C. Whitehead, March 1983.
Literature
L’art français de la révolution à nos jours, Paris (illustrated).
L.R. Pissarro and L. Venturi, Camille Pissarro, son artson oeuvre, Paris, 1939, vol. I, p. 239, no. 1137 (illustrated, vol. II, pl. 226; with incorrect support).
Achim Moeller Fine Art, ed., Late XIX and Early XX Century French Masters, The John C. Whitehead Collection, A Collection in Progress, New York, 1987, p. 80 (illustrated in color, p. 81).
Achim Moeller Fine Art, ed., From Daumier to Matisse, Selections from the John C. Whitehead Collection, exh. cat., Achim Moeller Fine Art, New York, 2002, p. 14 (illustrated in color).
J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro, Catalogue critique des peintures, Paris, 2005, vol. III, p. 815, no. 1319 (illustrated in color; with incorrect support).
Exhibited
The Montclair Art Museum, Late XIX and Early XX Century French Masters, The John C. Whitehead Collection, April-June 1989, p. 32, no. 58.
New York, Achim Moeller Fine Art, The Whitehead Collection, Late 19th and 20th Century French Masters, A Collection in Progress, 1997, p. 88, no. 57 (illustrated in color, p. 90; detail illustrated in color, p. 89; with incorrect support).

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Morgan Schoonhoven
Morgan Schoonhoven

Lot Essay

Pissarro moved to Eragny-sur-Epte, a small village on the Paris-Dieppe road, in 1884. He wrote to his son Lucien, '"the house is superb. It's two hours from Paris; I've found the countryside more beautiful than Compiègne. Spring's beginning, the pastures are green, the distant silhouette's fine.' Working in an even more confined orbit than at Louceviennes or L'Hermitage, for almost two decades Pissarro chose the nearby meadows as the regular site for his contemplation of nature…The heavy paint surface and close values recall his paintings of the 1860s, although the textures are more varied and the color range is more resonant. The apparent surrender to the rhythms and roughness of nature reminds us how considered and constructed the images of the meadows at Eragny are. For all their attention to the specific effet, these paintings place before us various fictions: of man subsumed by nature, of man composing nature, of man owning nature" (R. Thomson, Camille Pissarro, London, 1990, pp. 81-82 and 84).
Discussing these fine luminescent works of the Eragny period, Christopher Lloyd writes, "One of the more important aspects of this final period is the return to subject-matter traditionally associated with Impressionism. It is as if Pissarro was determined to reassess Impressionism. The rural paintings dating from the 1890s retain a luminosity of texture that is derived from the close working of the surfaces of his neo-impressionist paintings. There is an intensity about these paintings that enriches them with an almost visionary quality" (C. Lloyd and A. Distel, Pissarro, exh. cat., Hayward Gallery, London, 1980, p. 134).

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