The Market at Pontoise (or The Market at Gisors)
Framed: 24 13/16 x 21 3/4 x 2 inches (63.02 x 55.25 x 5.08 cm)
Exposition des Beaux-Arts , Ville de Mâcon, France, July 4–August 24, 1903, no. 657, as Pontoise (le marché).
The Second Exhibition of Works by Members of the Monarro Group , The Goupil Gallery, London, March 1921, no. 55, as Marché de Gisors.
Camille Pissarro , Galerie Saint-Pierre d’Alfred Poyet, Lyons, France, May 1929, no cat., no. 8, as Le Marché à Gisors.
Exhibition of Modern French Paintings, Water Colors and Drawings , C.W. Kraushaar Art Galleries, New York, October 5–28, 1929, no. 20, as Market at Pontoise.
French Paintings and Sculpture from the Kraushaar Galleries, New York, and Private Collections , The Art Gallery of Toronto, December 1929, no. 215, as Market at Pontoise.
Exhibition of Modern French Paintings, Water Colors and Drawings , C.W. Kraushaar Art Galleries, New York, October 11–November 5, 1932, no. cat.
Homage to Camille Pissarro: The Last Years, 1890–1903 , Dixon Gallery and Gardens, Memphis, TN, May 18–June 22, 1980, no. 7, as Le Marché a Gisors, Market at Pontoise.
Rétrospective Camille Pissarro , Isetan Museum of Art, Tokyo, March 9–April 9, 1984; Fukuoka Art Museum, Fukuoka, April 25–May 20, 1984; Kyoto Municipal Museum of Art, Kyoto, May 26–July 1, 1984, no. 50, as Le Marché à Gisors.
Impressionism: Selections from Five American Museums , The Carnegie Museum of Art, Pittsburgh, November 4–December 31, 1989; The Minneapolis Institute of Arts, January 27–March 25, 1990; The Nelson-Atkins Museum of Art, Kansas City, MO, April 21–June 17, 1990; The Saint Louis Art Museum, July 14–September 9, 1990; The Toledo Museum of Art, September 30–November 25, 1990, no. 65, as Market at Pontoise.
Impressionism to the Present: Camille Pissarro and His Descendants , Museum of Art, Fort Lauderdale, FL, January 29–April 30, 2000, no. 62, as Market at Pontoise.
Pissarro’s People , The Sterling and Francine Clark Art Institute, Williamstown, MA, June 12–October 2, 2011; California Palace of the Legion of Honor, San Francisco, October 22, 2011–January 22, 2012, no. 176, Market at Gisors.
Camille Pissarro: Le premier des impressionnistes , Musée Marmottan Monet, Paris, February 23–July 2, 2017, no. 34, as Market at Pontoise.
From Farm to Table: Impressionist and Post-Impressionist Masterworks on Paper , The Nelson-Atkins Museum of Art, Kansas City, MO, August 12, 2017–Jaunuary 21, 2018, no cat.
Given by the artist to Maître André Teissier (b. 1861), Mâcon, France,by July 4, 1903– at least August 3, 1904 [1];
With Galerie de l’Ėlysée, Paris [2];
With Galerie Saint-Pierre d’Alfred Poyet, Lyon, France, by May 10, 1929 [3];
With Jacques Dubourg , Paris, by July 20, 1929;
Purchased from Dubourg by C . W. Kraushaar Art Galleries, New York, stock no. 24704, as Marché à Pontoise, July 20, 1929–May 5, 1933 [4];
Purchased from Kraushaar by The Nelson-Atkins Museum of Art, Kansas City, MO, 1933.
NOTES:
[1] Teissier was Pissarro’s notary and friend; he may have received the painting as a gift from the artist as early as 1900; see Joachim Pissarro and Claire Durand-Ruel-Snollaerts, Pissarro, Critical Catalogue of Paintings (Milan: Skira Editore, 2005), 3:693.
This painting was lent by Teissier to the Exposition des Beaux-Arts, Ville de Mâcon, Mâcon, France, July 4–August 24, 1903, no. 657, as Pontoise (le marché). None of the paintings were sold during this exhibition. See correspondence from José Raymond, Assistant de conservation, Archives municipales de Mâcon, to Danielle Hampton Cullen, NAMA, June 11, 2021, NAMA curatorial files.
The painting does not appear in Pissarro’s will, indicating that Teissier was still the owner in 1904. See Teissier, “Dépôt de Partage de la communauté Pissarro,” Archives Departementales de Saône-et-Loire, Mâcon, France, Series 3E 24166.
[2] Jean Metthey (1904–1955) founded the Galerie de l’Élysée at 69 rue du Faubourg Saint-Honoré in 1935. He was listed as an individual owner of the painting in the 1939 catalogue raisonné, but not in the 2005 edition, which instead lists the Galerie de l’Élysée. See Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son art, Son Œuvre (Paris: Paul Rosenberg, 1939), no. 932, pp. 1:63, 210; and Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings (Paris: Wildenstein Institute Publications, 2005), no. 1097, pp. 3:696. Since this gallery was founded after the date that the Nelson-Atkins acquired the painting in 1933, it would not be the correct one.
Another Galerie de l’Élysée was located at 25 rue La-Boétie as early as 1919 until at least 1922. It is unclear who founded and directed this establishment.
[3] This painting was exhibited at the Camille Pissarro, Galerie Saint-Pierre d’Alfred Poyet, Lyon, France, May 1929, no. 8, as Le Marché à Gisors. As a commercial gallery, all the works exhibited were owned by the Galerie and were for sale.
[4] See Archives of American Art, Smithsonian Institution, Washington, D. C., Kraushaar Galleries Records, 1885–2006, Series 6.4, Financial Records, 1885–1957, Purchase Journal, 1928–1940, Box 74, Folder 7, page 62; and Sales Journal, 1930–1943, box 76, folder 3, page 136.
Exposition des Beaux-Arts , exh. cat. (Mâcon: Buguet-Comptour, 1903), 69, as Pontoise (le marché).
The Second Exhibition of Works by Members of the Monarro Group , exh. cat. (London: Goupil Gallery, 1921), 7, as Marché de Gisors.
Exhibition of Modern French Paintings, Water Colors and Drawings , exh. cat. (New York: C.W. Kraushaar Art Galleries, 1929), unpaginated, (repro.), as Market at Pontoise.
Catalogue of an Exhibition of French Paintings and Sculpture from the Kraushaar Galleries, New York, and Private Collections , exh. cat. (Toronto: Art Gallery of Ontario, 1929), 5–6, (repro.), as Market at Pontoise.
Edward Alden Jewell, “Kraushaar Shows French Work,” New York Times 82, no. 27,290 (October 12, 1932): 28, as Market at Pontoise.
“In Gallery and Studio,” Kansas City Star 53, no. 266 (June 10, 1933): 4.
“Nelson Gallery of Art Special Number,” Art Digest, no. 5 (December 1, 1933): 14, 22, as Market at Pontoise.
“The William Rockhill Nelson Gallery of Art, Kansas City Special Number,”Art News 32, no. 10 (December 9, 1933): 28, 30, 44, (repro.), as Market at Pontoise.
Minna K. Powell, “The First Exhibition of the Great Art Treasures,” Kansas City Star 54, no. 84 (December 10, 1933): 4C.
George H. Leonard, “Art and Life,” Holyoke (MA) Daily Transcript; The Holyoke Telegram, no. 16,200 (December 16, 1933): 8.
Paul V. Beckley, “Art News,” Kansas City Journal Post 80, no. 193 (December 17, 1933): 2C.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 137, as Market at Pontoise.
A. J. Philpott, “Kansas City Now in Art Center Class: Nelson Gallery, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign and American,” Boston Sunday Globe 125, no. 14 (January 14, 1934): 16.
M[inna] K. P[owell], “Cezanne and the Patches of Color by Which He Transformed Modern Art,” Kansas City Star 54, no. 120 (January 15, 1934): [16]D.
D[orothy] A[dlow], “The Home Forum,” Christian Science Monitor (August 10, 1937): 8, (repro.), as Market at Pontoise.
Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son art, Son Œuvre (Paris: Paul Rosenberg, 1939), no. 932, pp. 1:63, 210; 2: unpaginated, (repro.), as Le Marché a [sic] Gisors.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 41, 168, as Market at Pontoise.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts , 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 261, as Market at Pontoise.
Bill Graves, “Pissarro: Dean of Impressionist Painters,”Kansas City Times 123, no. 294 (December 8, 1960): 10D, as Market at Pontoise.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri , vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 163, 258, (repro.), as Market at Pontoise.
Charles Kunstler, Camille Pissarro (Milan: Fratelli Fabbri Editori, 1974), 66, (repro.), as Le Marché à Gisors.
Michael Milkovich, ed., Homage to Camille Pissarro: The Last Years, 1890–1903, exh. cat. (Memphis, TN: Dixon Gallery and Gardens, 1980), 23–24, 39, (repro.), as Le Marché a [sic] Gisors.
John Rewald et al., Pissarro: Camille Pissarro, 1830–1903, exh. cat. (London: Arts Council of Great Britain, 1980), 224, as Gisors Market.
Richard R. Brettell et. al, Retrospective Camille Pissarro, exh. cat. (Tokyo: Isetan Museum of Art, 1984), 74, 136–37, (repro.), as Le Marché à Gisors.
“Friends of Art: Guild Travel,” Calendar of Events (The Nelson-Atkins Museum of Art) (June 1985): (repro.), as Market at Pontoise.
Christopher Lloyd, “The Market Scenes of Camille Pissarro,”Art Bulletin of Victoria, no. 25 (1985): 26–27, 29, (repro.), as Le Marché à Pontoise.
Christopher Lloyd, ed., Studies on Camille Pissarro (London: Routledge and Kegan Paul, 1986), viii, 24, 31, (repro.), as Le Marché à Pontoise (formerly Gisors).
Janine Bailly-Herzberg, ed., Correspondance de Camille Pissarro (Paris: Editions du Valhermeil, 1989), 4:26, as Marché.
Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills Press, 1989), 12, 152–53, (repro), as Market at Pontoise.
Ludovico Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son Art—Son Œuvre, 2nd rev. ed. (San Francisco: Alan Wofsy Fine Arts, 1989), no. 932, pp. 1:63, 210, 2: (repro.), as Le Marché a [sic] Gisors.
Bernard Denvir, The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists (London: Thames and Hudson, 1993), 279.
Joachim Pissarro, Camille Pissarro (New York: Harry N. Abrams, 1993), 209–10, (repro.), as Market at Pontoise.
Paul Smith, Impressionism: Beneath the Surface (New York: Harry N. Abrams, 1995), 132, 134, (repro.), as The Market at Pontoise.
Jean Leymaire et al., Camille Pissarro, exh. cat. (Ferrara, Italy: Palazzo dei Diamanti, 1998), 194.
Loys Delteil et al., Camille Pissarro: l’oeuvre gravé et lithographié (San Francisco, CA: Alan Wofsy Fine Arts, 1999), 317.
David S. Stern and Talma Zakai-Kanner,Impressionism to the Present: Camille Pissarro and His Descendants, exh. cat. (Fort Lauderdale, FL: Fort Lauderdale Museum of Art, 2000), 87, (repro.), as Market at Pontoise.
Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings (Paris: Wildenstein Institute Publications, 2005), no. 1097, 1:366, 372, 375, 405, 408, 413, 422; 3:693, (repro.), as Le Marché à Gisors.
Richard Brettell, Pissarro’s People, exh. cat. (San Francisco: Fine Arts Museums of San Francisco, 2012), 228, 304, (repro.), as Market at Pontoise.
Emmanuelle Amiot-Saulnier, “Pissarro à Éragny: La nature retrouvée ,” L’Objet d’art, hors-série, no. 112 (2017), as Market at Pontoise.
Claire Durand-Ruel Snollaerts and Christophe Duvivier, Camille Pissarro: Le premier des impressionnistes, exh. cat. (Paris: Éditions Hazan, 2017), 108–09, 203, 206, (repro.), as Le Marché à Gisors.
Christophe Duvivier and Michel Melot, Camille Pissarro: Impressions gravées, exh. cat. (Paris: Somogy, 2017), 84, (repro.), as Le Marché de Gisors.
Possibly Joseph Helfenstein and Christophe Duvivier, Camille Pissarro: The Studio of Modernism, exh. cat. (Basel: Kunstmuseum Basel, 2021).
Danielle Hampton Cullen, “Camille Pissarro, The Market at Pontoise (or The Market at Gisors), 1895,” catalogue entry, and Mary Schafer, “Camille Pissarro, The Market at Pontoise (or The Market at Gisors), 1895,” technical entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2023), https://doi.org/10.37764/78973.5.648.
