HARRIS SCHRANK FINE PRINTS » Camille Pissarro

Rue de Géricault à Rouen

Harris Schrank — Thu, 28 Jan 2010 21:56:41 +0000

Camille Pissarro (1830-1903), Rue de Géricault à Rouen, lithograph, 1896, signed in blue pencil lower right margin, titled center, and inscribed “Ep defi No 11″ left [also signed in the plate in reverse]. Reference: Delteil 173, only state, from the group of about 21 impressions, a few of which were not signed. There were no posthumous impressions, and the cancelled plate is in the Bibliotheque Nationale. In good condition apart from spots of staining or foxing in margins, with margins, 7 1/4 x 5 1/2, the sheet 12 7/8 x 9 3/4 inches.

A fine impression, printed on green-Ingres paper affixed to a white wove.

Pissarro also made an etching of this section of Rue de Géricault (Delteil 120); the view is generally similar to the lithograph but is perhaps more realistic, less atmospheric than the lithographic version.

Narrow Street in Rouen (Petite Rue Nationale, a Rouen)

Harris Schrank — Thu, 06 Aug 2009 22:40:16 +0000

Camille Pissarro (1830-1903), Narrow Street in Rouen (Petite Rue Nationale, a Rouen), etching, drypoint, maniere grise, aquatint, 1896, signed in pencil lower right, numbered (No 6) and annotated “ep defi” (definitive proof) lower left, titled below (and with the added annotation Z). Reference: Delteil 122, third state (of 3). In excellent condition, the full sheet with very wide margins (remains of prior hinging verso, mat staining in margins not affecting image), printed on an ivory laid paper, 6 1/2 x 5 1/8, the sheet 16 1/4 x 11 5/8 inches.

Provenance: Henri Petiet, with his blindstamp verso (Lugt Supplement 2021a)

A very fine impression of this great rarity, printed in a black/grey ink with substantial plate tone overall, wiped to convey a sense of light near the streetlight at the back of the street, in the sky, and in the face of the building to the right.

Several years before etching Petite Rue Nationale Pissarro and Degas had worked closely together, developing a variant of the aquatint technique called “maniere grise”, in which they scraped the plate with an emery point; that technique appears to have been used in this print. Both Pissarro and Degas loved to re-work their plates through a number of states, carefully giving the plates different shadings and nuances. Printing in this way is time consuming, and for the vast majority of prints Pissarro insisted on doing the printing himself. Although Petite Rue Nationale was created in only three states (and there was only one impression made of each of the first two, and then 8 or 9 of the third), the plate appears to have been worked over in astonishing detail, with a myriad of etching or drypoint lines as well as aquatint and maniere grise. Then the plate was wiped carefully after each printing. Of course all this meant that the plate could withstand only very limited printings (and no large edition was even contemplated). For all of these reasons, it is understandable that only a relatively few lifetime impressions of Petite Rue Nationale were ever made, and today lifetime impressions of Pissarro etchings such as this are rarely available.

View of Rouen (Cours-la-Reine)

Harris Schrank — Mon, 27 Jul 2009 23:10:02 +0000

Camille Pissarro (1830-1903), Vue de Rouen (Cours-la-Reine), etching, soft ground etching, drypoint, maniere grise, 1884, signed in pencil lower right “C Pissarro”, numbered (No. 3) lower left, inscribed “Epreuve d’artiste” lower left, and titled “Vue de Rouen au Cours la reine” lower left. Reference: Delteil 50, state 3 (of 3). One of the dozen or so artist proofs of the third state (there was no edition, and only 1 proof of the first state and 4 of the second), and one of the five artist’s proofs that were numbered. In very good condition with full margins, moderate light staining, printed on a tan/buff colored hand made Dutch laid paper with the watermark Van Gelder.

A fine impression, printed in brown ink, with a veil of plate tone overall.

Pissarro did not like professional printing of his etchings, and so he printed most of his plates himself (working at this time with Degas, who also apparently printed many Pissarro proofs). The concept was not to produce a large edition of prints similar in appearance (only about 5 of Pissarro’s prints were in fact editioned during his lifetime); printmaking for Pissarro was a way of experimenting, achieving variations in light, mood, sensibility, with each proof. He did not intend to earn much money through printmaking (and he never did). In 1883 Pissarro was painting at Rouen, and returned to Paris with a number of sketches and full of recollections, which he used in developing the Rouen prints, which were probably completed in early 1884; Pissarro did not yet have a printing press of his own, so he used printing facilities in Paris. These are among his most engaging prints, and Vue de Rouen (Cours-la-Reine) is among the most successful of this group.

Woman at the Gate

Harris Schrank — Fri, 24 Jul 2009 00:16:27 +0000

Camille Pissarro (1830-1903), Femme a la Barriere (Woman at the Gate), etching and drypoint, 1889, signed in pencil with the initials CP lower right (annotated “imprime par C.P.”), annotated “No. 3, 6 etat” lower left and also titled “femme a la barriere” (largely erased) lower left. Reference: Delteil 84, sixth state (of 10). In very good condition, on a cream laid Arches paper, with a partial Arches watermark, with wide or full margins (remains of prior hinging verso), 6 7/8 x 4 1/8, the sheet 9 3/8 x 6 inches.

A fine delicately printed impression, printed in brown ink.

Pissarro printed Woman at the Gate himself, working through successive states as he experimented with slight variations from state to state and, as was his typical printmaking practice, making only one or a few impressions of each state and then omitting any edition. Here, he added the two ducks and the chicken in the yard just to the left of the woman (her right) in the third state (only 1 proof of this state), and added some shadow lines to the peasant’s dress and the house in the 4th and 5th states. In this impression, the sixth state, he added some lines to the leaves of the trees and clarified the hair of the woman. He printed (personally) three proofs of the sixth state, each annotated and numbered (1 to 3, this is 3). He made small changes in states 7, 8; darkened the plate quite a bit in state 9, and in state 10 added a layering of aquatint. Some lifetime impressions were made of state 10, and another group of 12 impressions in the 10th state were printed posthumously (of course these later impressions do not withstand comparison in aesthetic terms to the lifetime impressions).

The Impressionists, especially Pissarro and his printmaking partner Degas, approached printmaking as an evolutionary medium. It allowed them to have a composition evolve through successive states; the initial state or states were not viewed as merely a prelude to some definitive finality, but rather as a representation of one impression of the subject, and the last state generally represented the point at which they abandoned the print, not as the place to print an edition (and typically no edition, at least no lifetime edition, was made).

Even within states Pissarro experimented with different papers and inks; e.g., we’re aware of one impression of the 7th state (of 3 altogether) printed in bistre, and other impressions printed in black; this impression is printed in a brown ink which contrasts well with the light brown tint of this paper.

Femme Cuellant des Choux (Woman Picking Cabbage)

Harris Schrank — Tue, 07 Jul 2009 22:16:38 +0000

Camille Pissarro (1830-1903), Femme Cuellant des Choux (Woman Picking Cabbage), etching, 1888. Signed, titled and inscribed by the artist (lower right: “Imp. par C.P.”; lower left: “3′etat No. 2, femme cueillant des choux/cuivre”). Reference: Delteil 77, third state (of 7). In very good condition, with wide margins (barely discernible mat stain in margins), 3 15/16 x 2 1/2, the sheet 9 1/4 x 6 inches.

A fine, delicately printed impression of this rare print, printed in a light brownish/red ink, with a subtle layer of plate tone overall, on a laid paper.

Eight impressions of this state were pulled (by Pissarro himself), each annotated 3rd etat and numbered. There were only one or two impressions pulled in each of the prior or subsequent states. After this, the third state, Pissarro darkened the composition considerably. (There were also 24 impressions pulled posthumously.)

The cabbages toward the bottom of this impression appear to be printed twice, on a greyish ground, and then defined with careful etching lines (see detail below). Here Pissarro has used the technique he and Degas developed when working together in the early 1880’s, which has been called “maniere grise” (gray manner). According to Pissarro scholar Barbara S. Shapiro (Camille Pissarro, The Impressionist Printmaker), “a pencil-shaped emery stone rubbed on the plate simulated very fine-grained aquatint that reads as a gray tonality.” The technique gives the impression that the artist has either created the print with two plates, or perhaps worked over the paper somehow with a pencil or wash by hand before pulling the impression. But although the plate has in fact been worked over carefully using different techniques, the print is made in a single pull through the press. Pissarro (and Degas) wanted to produce various printmaking effects through the print process itself, not by inking the plate by hand (a la Whistler).

As Shapiro notes: “The prints of these brief years are triumphs of printmaking, characterized by shimmering surfaces that show varying degrees of light. Yet the unusual and seemingly spontaneous effects were the result of complex procedures.”

Detail

Vielle Rue a Rouen (Rue Malpalue)

Harris Schrank — Mon, 22 Jun 2009 02:00:11 +0000

Camille Pissarro (1830-1903), Vielle Rue a Rouen (Rue Malpalue), 1883, etching and drypoint, signed in pencil and inscribed “1 Ep d’Etat”. On antique cream laid paper with the watermark 1826. Reference: Delteil 41. In very good condition, with full margins, 5 x 4 7/8, the sheet 9 1/2 x 7 inches.

A fine impression of this great rarity, printed personally by Pissarro with a delicate covering of platetone; there is also evidence of a special aquatinting process (“maniere grise” which he invented with Degas (see below). The plate is, however, carefully wiped to hightlight the front of the large house.

Delteil notes that there were only a few lifetime impressions of this print, only one impression of the first state and only two or three in the second state (there were also 8 posthumous impressions, which were stamped with the stamp signature and numbered). Pissarro’s annotation suggests that this is the first impression of what was to be the definitive state, but apparently only one or two others were made.

The bubbles from the ink left on the plate are still evident in the sky; as inked the impression has a cast of night, perhaps even a stormy night. Although the print is well within the Impressionist tradition, the great house also has an expressionist appearance – its facade juts in and out precariously as it rises.

Pissarro was perhaps the most active printmaker of the Impressionists; printmaking was an essential component of his career, and he was deeply involved in the process of creating and printing his prints. By mid-career Pissarro had made many etchings, using fairly conventional techniques (although of course aesthetically his work was hardly conventional), but it was Degas who introduced Pissarro to a range of unusual ways of working with the etching plate – especially the use of aquatint. At this point Pissarro was about 50. He worked closely with Degas for several years; they both enjoyed working carefully and painstakingly to refine an image or composition, and often incorporating accidents or unanticipated results in the print.

Among other innovations, they developed a variant of the aquatint technique called “maniere grise”, in which they scraped the plate with an emery point; that technique appears to have been used in this print. As noted, Pissarro and Degas both loved to re-work their plates through several iterations, carefully giving the plates different shadings and nuances. The picture of the second state of Vieille Rue in the Delteil catalogue has a white sky, for example; quite different from this impression, but probably a difference created by inking rather than changes in the plate.

In 1883 Pissarro was painting at Rouen, and returned to Paris with a number of sketches and full of recollections, which he used in developing the Rouen prints, which were probably completed in early 1884; Pissarro did not yet have a printing press of his own, so he used printing facilities in Paris. These are among his most engaging prints, and Vielle Rue a Rouen is among the most successful and interesting of this group.

Rue du Gros Horloge a Rouen

Harris Schrank — Mon, 22 Jun 2009 01:56:17 +0000

Camille Pissarro (1830-1903), Rue du Gros Horloge a Rouen, etching and aquatint, 1883-4, signed and inscribed “3 etat” and numbered “no. 7″. Reference: Delteil 54. Third state of three. From the “edition” of 12 in this state; there were also 2 proofs taken of the first state, and five of the second. (There were also 15 posthumous impressions taken, but of course they are not aesthetically comparable to the lifetime impressions.) In good condition, with wide margins (pale mat staining on margins, outside of platemark, a small oxidation stain within image lower left plate edge), 7 1/2 x 5 11/16, the sheet 11 13/16 x 9 7/16 inches. On laid paper, with the watermark Glaslan.

A fine impression of this great rarity.

Rue du Gros Horloge was made about 5 years after Pissarro first began working on the refinements of printmaking with Degas. Among other innovations, they developed a variant of the aquatint technique called “maniere grise”, in which they scraped the plate with an emery point; that technique appears to have been used in this print. As noted, Pissarro and Degas both loved to re-work their plates through a number of states, carefully giving the plates different shadings and nuances, e.g., there are at least two layers of aquatint in this impression, as well as some carefully wiped plate tone. Of course this meant that the plates could withstand only very limited printings, and today these prints are of the utmost rarity.

In 1883 Pissarro was painting at Rouen, and returned to Paris with a number of sketches and full of recollections, which he used in developing the Rouen prints, which were probably completed in early 1884; Pissarro did not yet have a printing press of his own, so he used printing facilities in Paris. These are among his most engaging prints, and Rue du Gros Horloge is among the most successful of this group.

Rue Damiette, a Rouen

Harris Schrank — Mon, 22 Jun 2009 01:53:30 +0000

Camille Pissarro (1830-1903), Rue Damiette, a Rouen; etching, drypoint and aquatint, 1884, signed bottom right [also dated and titled in the plate lower right]. Reference: Delteil 52, second state (of 2). Delteil notes that 9 proofs were pulled before steelfacing, and another 8 or 9 after (among the lifetime impressions); the earlier group was numbered according to Delteil, and so this impression may have been in the second group. In very good condition with full margins, slightest rubbing in margin to left of signature (visible only in a raking light, not near image); thin areas in margins verso inherent in handmade paper. On a hand made laid paper, without watermark, 7 7/8 x 5 7/8, the sheet 13 3/4 x 10 1/4 inches, archival mounting with silk window mat.

A fine atmospheric impression of one of the most successful of the Rouen cityscapes, in which Pissarro employs the “manier grise” aquatint technique (discussed below) effectively. A great rarity, we know of only one lifetime signed impression to come on the market in the past 15 years.

Rue Damiette a Rouen was made about 5 years after Pissarro first began working on the refinements of printmaking with Degas. Among other innovations, they developed a variant of the aquatint technique called “maniere grise”, in which they scraped the plate with an emery point; that technique appears to have been used extensively in this print. As noted, Pissarro and Degas both loved to re-work their plates through a number of states, carefully giving the plates different shadings and nuances, e.g., there are at least two layers of aquatint in this impression, as well as some carefully wiped plate tone. Of course this meant that the plates could withstand only very limited printings, and today these prints are of the utmost rarity.

Pissarro did not like professional printing of his etchings, and so he printed his plates himself (also Degas apparently printed many Pissarro proofs). The concept was not to produce a large edition of prints similar in appearance (only about 5 of Pissarro’s prints were in fact editioned during his lifetime); printmaking for Pissarro was a way of experimenting, achieving variations in light, mood, sensibility, with each proof. He did not intend to earn much money through printmaking (and he never did). In 1883 Pissarro was painting at Rouen, and returned to Paris with a number of sketches and full of recollections, which he used in developing the Rouen prints, which were probably completed in early 1884; Pissarro did not yet have a printing press of his own, so he used printing facilities in Paris. These are among his most engaging prints, and Rue Damiette a Rouen is among the most successful of this group.

Paysage a Osny

Harris Schrank — Mon, 22 Jun 2009 01:50:19 +0000

Camille Pissarro (1830-1903), Paysage a Osny, 1887, etching and drypoint, signed in pencil and numbered “20″. Reference: Delteil 70, first state of two. In very good condition, on heavy cream laid paper, the full sheet with very wide margins, 4 1/2 x 6 1/8, the sheet 16 3/4 x 23 1/16 inches. As published by L’Etampe Original, and with its blindstamp (Lugt 819) lower left margin. From the edition of 100.

A fine impression, with excellent contrasts, and the drypoint burr effective.

Paysage a Osny was published in its original edition in the first state; additional proofs were taken in a second state, and then in a posthumous edition. The second state posthumous prints are not comparable to our impression: they’ve lost their richness, many of the delicate drypoint lines have worn out; the print has a grey quality.

By the late 1880’s Pissarro had been making prints for many years, and printmaking was a critical part of his work (among the Impressionists Pissarro and Degas were exceptional in their involvement with printmaking). After an early period of learning about the rudiments of printmaking, and then an extended time of experimentation, working closely with Degas, he continued printmaking as a mature artist; Paysage a Osny was done in this latter phase of his career. But his work was always aesthetically ahead of his time. He noted in a letter to his son Lucien in 1891: “As for the collectors, I’ll tell you what they really admire – Charles Jacque, Buhot, Bracquemond, or Legros when he’s in his Rembrandt mood, and the same goes for Seymour Haden. But not printmaking dealing with sensations. And that’s what I’m trying to do with my feelings.”

His comments about printmakers in a “Rembrandt mood” notwithstanding, Pissarro was (of course) an admirer of Rembrandt, and Paysage a Osny bears a curious resemblance to one of Rembrandt’s most famous prints, The Three Trees, with the trees on a dark hill at the right of the composition, and a rather complex set of hills and patterns (although, in both prints, the composition seems at first innocent glance rather straightforward).

Enfants Causant (Children Talking)

Harris Schrank — Mon, 22 Jun 2009 01:47:36 +0000

Camille Pissarro (1831-1903), etching, 1889, signed, titled and inscribed “No. 6 Epreuve de Artiste.” Reference: Delteil 89, third state (of 3). On tan laid paper. In good condition (slight time staining and spotting), with margins and archival mounting.

A fine impression of this charming composition, a great rarity.

Only 7 or 8 impressions of this state of the print were made (and only 10 or 11 in all, each personally printed by Pissarro), each signed, numbered and annotated. (Another 12 impressions were taken posthumously, but of course they lack the character, atmosphere and quality of the lifetime impressions; these were stamped and numbered.)

Few changes were made in Enfants Causant from state to state. In the third state Pissarro added a small tree trunk in the background, and extended the hair of the girl standing at the right down over her shoulders.

Pissarro did not like professional printing of his etchings, and so he printed most of his plates himself (Degas apparently printed many Pissarro proofs). The concept was not to produce a large edition of prints similar in appearance (only about 5 of Pissarro’s prints were in fact editioned during his lifetime); printmaking for Pissarro was a way of experimenting, achieving variations in light, mood, sensibility, with each proof. He did not intend to earn much money through printmaking (and he never did).