Camille Pissarro 1830-1903
N06003 Un Coin du Pré à Eragny (A Corner of the Meadow at Eragny) 1902
Inscribed 'C. Pissarro. 1902' b.r. and 'Un coin du pré
à Eragny' on the stretcher
Oil on canvas, 23 5/8 x 32 (60 x 81)
Presented by Mrs Lucien Pissarro to the National Gallery 1951; transferred 1953
Prov: Lucien Pissarro, London; Mrs Lucien Pissarro, London
Exh: Pictures by Camille Pissarro, Stafford Gallery, London, October 1911 (25) as 'Coin du pré, matin automne'; Rétrospective des Oeuvres de Camille Pissarro (1830-1903), Galerie Manzi et Joyant, Paris, January-February 1914 (24); The Monarro Group, Goupil Gallery, London, February 1920 (125); Oil Paintings by Camille Pissarro (1830-1903), Tate Gallery, June-October 1931 (9); Birmingham City Art Gallery, October-November 1931 (9); Castle Museum, Nottingham, November-December 1931; War Memorial Art Gallery, Stockport, January 1932 (21); Mappin Art Gallery, Sheffield, February-March 1932 (20); Bootle Public Museum, April-May 1932 (20); Leeds City Art Gallery, July 1932 (24); Northampton Art Gallery, August-September 1932 (3); Grundy Art Gallery, Blackpool, September 1932 (3); Rochdale Art Gallery, October-November 1932; C. Pissarro, Stafford Gallery, London, May-June 1939 (4); Famous Jewish Artists of the Past, Ben Uri Art Gallery, London, June-July 1949 (34); Pissarro in England, Marlborough Fine Art, London, June-July 1968 (28, repr.)
Lit: Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro: son Art - son Oeuvre (Paris 1939), No.1263, Vol.1, p.256, repr. Vol.2, pl.246
Repr: Vogue, March 1920, pp.76-7
The orchard-cum-vegetable garden of Pissarro's house at Eragny, the house itself being out of sight to the right; beyond the wall lie other houses in the village. The figure in the orchard is the artist's wife. Pissarro - Venturi Nos.1261 and 1262 (also dated 1902) show related views.
Entre juin et juillet [this line has been erased]
de 10h. à midi ½
As Pissarro returned to Eragny from Dieppe about the beginning of October 1902, and the view seems to be an autumnal one, the inscription may be taken to mean that the picture was painted then. The phrase 'de 10 h. à midi ½' means presumably that it was a morning effect and that Pissarro worked on it only between the hours of 10 am and half-past twelve.
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.613-14, reproduced p.613