ProvenanceLucien Pissarro, London, 1904, by descent from the artist
Arthus Tooth & Sons, Ltd., London
Mrs. V. H. Deuchar, October 1947
Sam Salz, Inc., New York, May 1952
Mr. and Mrs. Leigh B. Block, Chicago, May 1952 to at least until 1978
Mr. and Mrs. Sigmund A. Rolat, New York; Sale, Sotheby's New York, 17 May 1990, lot 2
Galerie Urban, Paris, until 1993
Private Collection, New York,
William Vareika Fine Arts, Ltd., Newport, Rhode Island
Private Collection, 3 March 2008
Sale, Chr...More...istie's, Impressionist and Modern Art Evening Sale Including Property from the Estate of Edgar M. Bronfman, 6 May 2014
Private Collection, California
ExhibitionLondon, Strafford Gallery, Pictures by Camille Pissarro, October 1911, no. 30
(possibly) London, The Doré Galleries, Post-Impressionist and Futurist Exhibition, 1913, no. 6
London, National Gallery, Oil Paintings by Camille Pissarro, June-October 1931, no. 34
Birmingham, City Museum and Art Gallery, Oil Paintings by Camille Pissarro, October-November 1931, no. 28
Nottingham Castle Museum and Art Gallery, Oil Paintings by Camille Pissarro, November-December 1931, no. 14
Stockport, War Memorial Buildings and Sheffield, Mappin Art Gallery, Paintings by Camille Pissarro, January-March 1932, no. 13
Bootle Museum, Oil Paintings by Camille Pissarro, April-May 1932, no. 12
Leeds City Art Gallery, Paintings by Camille Pissarro, July 1932, no. 31
Northampton, Art Gallery; Blackpool, Grundy Art Gallery and Rochdale Corporation Art Gallery, Paintings by Camille Pissarro, September-November 1932, no. 2.
London, The Stafford Gallery, Constable, Bonington, C. Pissarro, May-June 1939, no. 18.
The Art Institute of Chicago, Treasures of Chicago Collectors, April-May 1961
Washington, D.C., National Gallery of Art; Los Angeles County Museum of Art and Boston, Museum of Fine Arts, 100 European Paintings and Drawings from the Collection of Mr. and Mrs. Leigh B. Block, May-June 1967 and February-April 1968, no. 4 (illustrated)
Santa Barbara Museum of Art, Impressionist and Post-Impressionist Paintings from a Private Collection, 1978 (titled Riverbank at Pontoise)
Akashi, Cultural Center; Nara Sogo Museum of Art; Fukuoka Prefectural Museum of Art and Kanagawa, Sogo Museum of Art, Les Impressionnistes et l'art moderne: de Monet à Picasso, October 1997-April 1998, no. 17
Fort Lauderdale, Museum of Art, Impressionism to the Present: Camille Pissarro and His Descendants, January-April 2000, p. 53, no. 22 (illustrated in color)
LiteratureStockport Express, 7 January 1932
The Rochdale Observer, 29 October 1932
L.R. Pissarro and L. Venturi, Camille Pissarro, son art--son oeuvre, Paris, 1939, vol. I, p. 130, no. 356 (illustrated, vol. II, pl. 71)
R.R. Brettell, Pissarro and Pontoise: The Painter in a Landscape, New Haven, 1990, pp. 93-95 (illustrated, p. 95, fig. 86)
J. Pissarro and C. Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures, Paris, 2005, vol. II, p. 329, no. 456 (illustrated in color)
After taking refuge in England during the Franco-Prussian war and Paris Commune of 1870-71, Camille Pissarro returned to settle at his former residence at Pontoise. He was surprised that the landscape had been substantially altered. Just across from the Hermitage quarter where he had settled, a large factory with its smoke piling skyward from the distillation of beets had been built at Chalon et Cie. It proved to be a solitary modern formal element he tackled with considerable energy in 1873. Direct representations of industry were uncommon, so that not surprisingly, they are in stark with Monet’s contemporaneous work at Argenteuil, where the younger painter devoted his efforts to painting sunshine and parasols, sailboats and well-appointed bourgeois strolling along promenades.
Le Quai de Pothuis a Pontoise is one of four closely related views (Pissarro and Durand-Ruel Snollaerts, nos. 454-458) painted in 1876. The factories here are not a jarring presence and do not reshape the landscape. It is clear that signs of industry interested him not as statements of vile or ugly encroachment, but as substantive facts worth commitment to paper, board or canvas. On the other hand, given his devotion to Millet and peasantry, these canvases advance a fuller appreciation of his commensurate preoccupation with the common laborer. Yet to a contemporary eye, Le Quai de Pothuis a Pontoise seems far less seductive as a political statement than one that seeks to adopt the integration of modern forms into the bucolic landscape.
Le Quai de Pothuis a Pontoise was painted from the left bank of the Oise looking upstream from the l’Hermitage quarter near his residence and wife and growing family. Pissarro seldom sacrificed compositional considerations in a headlong quest for color effects, but it is important to remember Le Quai de Pothuis a Pontoise was painted in 1876 — the year of the second Impressionist exhibition and at a time when the painters displayed a growing interest in light, color and atmosphere. With those considerations, Le Quai de Pothuis a Pontoise is a consummate example of Pissarro’s knack for creating highly unified studies; here, using to great advantage the strong diagonal lines of the quay attenuated by the verticality of smokestacks and the barge mast that add rhythm and structure to a composition finely balanced within the parlance of Impressionism at this decisive stage of its development.
Camille Pissarro, “Quai du pothuis a pontoise après pluie”, 1876, oil on canvas, 46 x 55 cm, The Whitworth, The University of Manchester
Camille Pissarro, “Vue de Pontoise, quai du Pothuis”, 1867, oil on canvas, 31 x 45.5 cm, Tel Aviv Museum of Art
Postcard, circa 1900
- The graph by Art Market Research shows that since 1976, paintings by Pissarro have increased at a 5% annual rate of return.
- Camille Pissarro has enormous growth potential. He is priced today where Monet and Cezanne were priced 20 years ago.
- A 2021 exhibition at the Museum of Fine Arts Boston displays a juxtaposition of Impressionist and post-impressionist works, including that of Pissarro. Museums continue to showcase the importance of Pissarro in art history, driving the strong demand for his work.
- Pissarro’s work is seen by many curators and scholars as an important bridge artist between the earlier 19th Century “Barbizon School” and the Impressionists. His prominent inclusion of the French peasantry in his work offers a social critique of his society and the potential dangers of rapid industrialization.
Top Results at Auction
Comparable Paintings Sold at Auction
- A later work with a more Pointilist/Post-Impressionist style than the earlier Impressionist masterpiece, “Le Quai de Pothuis a Pontoise”.
- A larger canvas, though not a Pontoise subject. Pontoise is one of the most important locations in the development of Impressionism.
- A desirable Pontoise subject, including figures working in the fields, which adds value. Our painting also features a figure in the field.
- Comparable in date and quality to “Le Quai de Pothuis a Pontoise”, though larger.
- A hillside Pontoise scene that shows the effects of diffused light.
- Comparable quality and subject, though slightly larger.
- Sold at auction for close to $3M six years ago, and the Pissarro market has increased since then.
- An exceptional painting executed four years before “Le Quai de Pothuis a Pontoise”.
- Both paintings address French country life and an Impressionist approach to capturing the light at a single moment.
- Sold for over $4.3M nearly ten years ago, and the Pissarro market has increased since then.