Camille Pissarro (1830-1903)

Fourteen paintings by the great names in modern art—including Bonnard, Pissarro, Dufy and Valtat—once belonging to the Moch collection open this early evening sale of 19th and 20th-century works.

Not seen on the market for nearly forty years, a landscape of Éragny attests to Camille Pissarro's assiduous attention to the motif of the changing seasons.

Pissarro enjoyed painting this tree, which evokes the peaceful haven of his garden that the painter liked to portray endlessly.

At L'Hermitage, near Pontoise, where he stayed from 1866 to 1868 and after the 1870 war, Camille Pissarro celebrated working the land, as witness this recently discovered painting, which now joins the corpus of the eldest Impressionist.

Within their family, the dealers David Stern and Lélia Pissarro cultivate a heritage that involves both their relatives and art history: those of Camille Pissarro and his legacy.

FIn d'après midi dans notre pré (End of the afternoon in our meadow) by Pissarro from 1887, has just officially joined the collection of the National Gallery in London, having been on loan there since 2019. The work has been received in payment for the Viscountess Astor's inheritance tax to the British Crown.

This figure of a woman hanging laundry by Camille Pissarro, a study for his painting of the same title, now in the Musée d'Orsay, comes from a Swiss collection.

Camille Pissarro invites us on a wander through a sunny wood while Henry Moret beckons to take a little trip to the sea.

A work that Pissarro painted near Pontoise is likely to achieve the highest result.

Camille Pissarro made this painting the year he died. It sums up his art and wonderfully illustrates his talent as a chronicler of French city and country life.