Camille Pissarro

Durand-Ruel, Paris (acquired directly from the artist in 1888)
Mme de la Chapelle, Paris (acquired from the above in 1938)
Justin K. Thannhauser, New York
Jacob M. Goldschmidt
Mrs. H. Halpern, New York
Sale: Sotheby's, London, June 28, 1967, lot 51
Wilde Collection
Dr. Lamberto Micangeli (and sold: Sotheby's, London, April 7, 1976, lot 38)
Bergamini Collection
Sale: Hôtel des Ventes, Enghein, March 24, 1985, lot 121
Private Collection, New York (acquired at the above sale)
Private Collection, New York (by descent from the above and sold: Sotheby's, New York, November 7, 2012, lot 178)
Acquired at the above sale

Brussels, Palais des Beaux-Arts, Art français moderne, 1929, no. 8
Basel, Kunsthalle, Impressionisten—Monet, Pissarro, Sisley: Vor laufer und zeitgenossen, 1949, no. 140

Ludovico Rodo Pissarro & Lionello Venturi, Camille Pissarro: son art, son oeuvre, Paris, 1939, no. 670
Martha Ward, Pissarro, Neo-Impressionism and the Spaces of the Avant-Garde, Chicago & London, 1996, p. 309
Joachim Pissarro & Clair Durand-Ruel Snollaerts, Pissarro, Critical Catalogue of Paintings, vol. III, Milan, 2005, no. 814, illustrated p. 533

This work is in very good condition. Canvas is lined. Surface is clean. Under UV light there are a few pindot retouches at extreme upper left corner and one stroke at the center of the top edge. Otherwise fine.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The natural beauty of the French countryside was the subject of many of Pissarro’s finest compositions. In Les Coteaux de Gisors, temps gris, his direct observation of nature and the effects of light on the meadow recreates the vibrant energy of the outdoors, even on an overcast day. As Christoph Becker explains, “There was no season or time of day that Pissarro did not portray, indeed he would impatiently wait for certain atmospheric changes, so that he could set up his easel in the open air and return to work with palette and brush” (Christoph Becker et al., Camille Pissarro, Ostfidern, 1999, p. 105). Combining the richness and vibrancy of the landscape with the man-made, the artist celebrates the harmony of man and nature which was central to his artistic concerns.