CAMILLE PISSARRO (1830-1903)

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CAMILLE PISSARRO - Le Quai de Pothuis a Pontoise - oil on canvas - 18 1/8 x 21 7/8 in.

Le Quai de Pothuis a Pontoise187618 1/8 x 21 7/8 in.(46.04 x 55.56 cm) oil on canvas

Provenance

Lucien Pissarro, London, 1904, by descent from the artist
Hughes
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

Exhibition

London, 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)

Literature

Stockport 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)
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“Blessed are they who see beautiful things in humble places where other people see nothing.” – Camille Pissarro

History

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.

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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

“Everything is beautiful, all that matters is to be able to interpret.” – Camille Pissarro

MARKET INSIGHTS

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 19^th 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.

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Top Results at Auction

“Le boulevard Montmartre, matinée de printemps” (1897), oil on canvas, 28 ½ x 32 in. Sold at Sotheby’s London: 05 February 2014 for $32,093,000 USD.

“Gelée Blanche, Jeune Paysanne Faisant Du Feu” (1888), oil on canvas, 36 ½ x 36 ½ in., Sold at Sotheby’s London: 04 February 2020 for $17,322,000 USD.

“La Rue Saint-Lazare, temps lumineux” (1893), oil on canvas, 28 ¾ x 23 ¾ in., Sold at Christie’s New York: 11 November 2018 for $12,350,000 USD.

“Jardin et poulailler chez Octave Mirbeau, Les Damps” (1892), oil on canvas, 29 x 36 ¼ in., Sold at Christie’s New York: 11 November 2019 for $10,263,000 USD.

Comparable Paintings Sold at Auction

“Le Grand Noyer au Printemps, Éragny” (1894), oil on canvas, 23 ¾ x 29 in. Sold at auction May 2019 for $2,660,000.

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.

“Le jardin de Maubuisson, Pontoise” (1881), oil on canvas, 25 5/8 x 29 in. Sold at auction November 2015 for $2,965,000.

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.

“Les coteaux de Chou, Pontoise” (1882), oil on canvas, 23 ¾ x 29 in. Sold at auction November 2015 for $2,965,000.

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.

“Hameau aux environs de Pontoise” (1872), oil on canvas, 21 ¼ x 29 in. Sold at auction November 2012 for $4,394,000.

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.