Detail of Fair on a Sunday Afternoon, Dieppe by Pissarro in the Philadelphia Museum of Art, January 2012

Fair on a Sunny Afternoon, Dieppe

Camille Pissarro, French, 1830 - 1903


Geography: Made in France, Europe

Date: 1901

Medium: Oil on canvas

Dimensions: 28 15/16 x 36 1/4 inches (73.5 x 92.1 cm)

Curatorial Department: European Painting before 1900, Johnson Collection

Object Location: Gallery 165, European Art 1850-1900, first floor (Eglin Gallery)

Accession Number: 1950-92-12

Credit Line: Bequest of Lisa Norris Elkins, 1950

Provenance: Purchased from the artist by Durand-Ruel, Paris, November 6, 1901; sold to Bernheim-Jeune, Paris, January 16, 1902; sale, Bernheim, Paris, Hôtel Drouot, November 28-December 1, 1904, no. 85. Pieter Van der Velde collection, Le Havre [1]; sold to Wildenstein & Co., New York, through Paul Rosenberg, Paris, as agent; sold to Duncan Phillips, Phillips Memorial Gallery, Washington, D.C., February 1, 1922; sold to De Hauke & Co., New York, November 6, 1929 (stock no. 3399) [2]; sold to Jos. Hessel (dealer), Paris, March 15, 1930 [3]. Henry (Harry) Stevenson Southam (1875-1954), Ottawa, after 1936 (?) and by 1939 [4]; sold to French Art Galleries and M. Knoedler & Co. (joint ownership), New York, February 1944 [5]; sold by Knoedler to William M. Elkins (1882-1947) and his wife Elizabeth "Lisa" C. Norris Elkins (1898-1950), Philadelphia, March 23, 1944 [6]; Elizabeth "Lisa" C. Norris Elkins; bequest to PMA, 1950. 1. See Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of Paintings, Milan and Paris, 2005, vol. 3, no. 1388; and Richard Brettell and Joachim Pissarro, The Impressionist and the City: Pissarro's Series Paintings, New Haven, 1992, no. 134, p. 178. 2. Information on Phillips' acquisition and sale of the painting from registrar files, Phillips Collection (communication of 6 April 2004, in curatorial file); and Archives of American Art, Jacques Seligmann & Co. Records/ De Hauke & Co., Inc., Records/ Series 9.7.1 / Box 408/ f. 4: Purchase Book, 1926-1931; Box 408/ f. 5: Sales Book, 1926-1931; and Series 9.7.2/ Box 411/ f. 1: Bound Invoices, 1929-1930. According to correspondence of May 1926 between Phillips and Wildenstein & Co., the painting was "secured" by Paris dealer Paul Rosenberg from Van der Velde's private collection . 3. Archives of American Art, Jacques Seligmann & Co. Records/ De Hauke & Co., Inc., Records/ Series 9.7.2/ Box 411/ f. 1 / Bound Invoices, 1929-1930 (stock no. 3399). The 1939 Venturi catalogue raisonné of Pissarro's paintings lists prior owners Van de Velde, Duncan Phillips, Gaston Lévy, and Paul Rosenberg; however, the De Hauke & Co. records show that the painting went directly from Phillips to De Hauke to Hessel. Hessel lent the painting to the 1930 Musée de L'Orangerie exhibition, "Centenaire de la naissance de Camille Pissarro," no. 111. 4. According to Venturi (1939). Southam, a Canadian newspaper publisher, was a collector of Canadian and 19th-century European art. He probably purchased this painting after February 1936, as it does not appear in lists of 1933 and 1936 appended to his will (letter from Michael Pantazzi, National Gallery of Canada, 29 August 2001, in curatorial file). 5. Dates per Brettell and Pissarro (see note 1). At least one other painting was purchased from Southam in 1944 by French Art Galleries and Knoedler, see John Rewald, The Paintings of Paul Cézanne (New York, 1996), no. 888. 6. Dated receipt from Knoedler to Elkins in registrar file.

Text from: www.philamuseum.org/collections/permanent/52043.html?mulR=375839343|12