Paulémile Pissarro (1884 - 1972)
- AVAILABLE ARTWORKS FOR SALE
-
Paulémile Pissarro (1884 - 1972)
Printemps
Oil on canvas
60.6 x 73.2 cm (23 ⁷/₈ x 28 ⁷/₈ inches)
Signed lower left Paulémile.Pissarro.
Titled on the reverse
Executed circa 1935 -
Paulémile Pissarro (1884 - 1972)
La Rivière Orne et le Pain de Sucre
Oil on canvas
54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches)
Signed lower right, Paulémile-Pissarro.
Executed circa 1940 -
Paulémile Pissarro (1884 - 1972)
Barque sur l’Eure
Oil on canvas
54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches)
Signed lower right Paulémile Pissarro
Executed circa 1930 -
Paulémile Pissarro (1884 - 1972)
La Rivière
Oil on canvas
92 x 73 cm (36 ¼ x 28 ¾ inches)
Signed and dated lower left Paulémile Pissarro 1932 -
Paulémile Pissarro (1884 - 1972)
Nature Morte
Oil on canvas
54.3 x 65.2 cm (21 ³/₈ x 25 ⁵/₈ inches)
Signed lower left, Paulémile Pissarro
Inscribed on the reverse
Executed circa 1945 -
Paulémile Pissarro (1884 - 1972)
L'Abbaye de Brantôme
Oil on canvas
65 x 54 cm (25 ⁵/₈ x 21 ⁵/₈ inches)
Signed and dated lower right, Paulémile- Pissarro. 1918. -
Paulémile Pissarro (1884 - 1972)
Les deux arbres au bord de la rivière dans la forêt de Lyons
Oil on canvas
65 x 54 cm (25 ⁵/₈ x 21 ¹/₄ inches)
Signed lower left, Paulémile-Pissarro.
Executed circa 1950 -
Paulémile Pissarro (1884 - 1972)
Marais Poitevin
Oil on canvas
46 x 55 cm (18 ¹/₈ x 21 ⁵/₈ inches)
Signed lower right, Paulémile Pissarro
Executed circa 1935 -
Paulémile Pissarro (1884 - 1972)
La Rivière Ombragée, La Garette
Oil on canvas
65 x 54 cm (25 ⁵/₈ x 21 ¹/₄ inches)
Signed lower right, Paulémile Pissarro
Executed circa 1930 -
Paulémile Pissarro (1884 - 1972)
L'Arbre au Bord de l'Eau
Oil on canvas
46 x 55 cm (18 ¹/₈ x 21 ⁵/₈ inches)
Signed lower left, Paulémile. Pissarro - 1928.
Executed in 1928 -
Paulémile Pissarro (1884 - 1972)
Lyons-la-Forêt
Oil on canvas
61 x 50 cm (24 x 19 ³/₄ inches)
Signed lower right, Paulémile Pissarro and titled on the stretcher
Executed in the 1960s -
Paulémile Pissarro (1884 - 1972)
Les Iles à Cantepie
Oil on canvas
54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches)
Signed lower right, Paulémile Pissarro
Signed and titled on the reverse
Executed in the 1950s -
Paulémile Pissarro (1884 - 1972)
Paysage d'Hiver
Oil on canvas
54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches)
Signed lower right, Paulémile- Pissarro.
Signed and titled on the reverse
Executed circa 1955 -
Paulémile Pissarro (1884 - 1972)
Chemin de la Vallée
Oil on canvas
46 x 61 cm (18 ¹/₈ x 24 inches)
Signed lower left, Paulémile. Pissarro-
Signed and titled on the reverse -
Paulémile Pissarro (1884 - 1972)
Neige à Clécy
Oil on canvas
46 x 55 cm (18 ⅛ x 21 ⅜ inches)
Signed lower left, Paulémile Pissarro and titled on the reverse
Executed circa 1960 -
Paulémile Pissarro (1884 - 1972)
Bord de lac
Oil on canvas
46 x 55 cm (18 ¹/₈ x 21 ⁵/₈ inches)
Signed lower left, Paulémile- Pissarro.
Executed circa 1940 -
Paulémile Pissarro (1884 - 1972)
La Mare et les Vieux Saules
Oil on canvas
46 x 55 cm (18 ¹/₈ x 21 ⁵/₈ inches)
Signed lower left, Paulémile. Pissarro-
Signed and titled on the reverse
Executed circa 1930s -
Paulémile Pissarro (1884 - 1972)
Rivière et Saules
Oil on canvas
46.1 x 55.2 cm (18 ¹/₈ x 21 ³/₄ inches)
Signed and dated lower left Paulémile-Pissarro-1931
Titled on the reverse -
Paulémile Pissarro (1884 - 1972)
Bord de l'Orne
Oil on canvas
46 x 61 cm (18 ¹/₈ x 24 inches)
Signed lower left, Paulémile-Pissarro.
Executed circa 1950 -
Paulémile Pissarro (1884 - 1972)
Le Coup de Vent
Oil on canvas
65 x 92 cm (25⁵/₈ x 36¹/₄ inches)
Signed lower left, Paulémile Pissarro; signed and titled on the reverse
Executed circa 1940 -
Paulémile Pissarro (1884 - 1972)
Les Deux Barques
Watercolour and gouache on paper
25.5 x 32.5 cm (10 x 12 ¾ inches)
Signed lower left, Paulémile-Pissarro
Executed in the 1950s -
Paulémile Pissarro (1884 - 1972)
L'Ile des Oneaux
Watercolour and charcoal on paper
23 x 31 cm (9 x 12 ¹/₄ inches)
Signed lower right, Paulémile Pissarro -
Paulémile Pissarro (1884 - 1972)
Un Chemin dans la Forêt
Pastel and charcoal on paper
24 x 31 cm (9 ¹/₂ x 12 ¹/₄ inches)
Stamped lower middle-right, Paulémile Pissarro -
Paulémile Pissarro (1884 - 1972)
Village in Normandy
Watercolour, ink and charcoal on paper
40 x 31.2 cm (15 ³/₄ x 12 ¹/₄ inches)
Signed lower left, Paulémile Pissarro
Executed in 1920
-
Paulémile Pissarro (1884 - 1972)
Chaumière à Cantepie (Calvados)
Etching
19.5 x 24.3 cm (7 ⅝ x 9 ⅝ inches)
Signed Paulémile-Pissarro, numbered 38/50 and titled lower left; signed again lower right
-
Paulémile Pissarro (1884 - 1972)
Le corp de ferme
Watercolour, ink and charcoal on paper
29.7 x 46.8 cm (11 ³/₄ x 18 ³/₈ inches)
Signed lower left, Paul-Emile Pissarro
Executed circa 1918 -
Paulémile Pissarro (1884 - 1972)
L'Église de Morgny-Eure
Watercolour and black crayon on paper
31.5 x 43.5 cm (12 ³/₈ x 17 ¹/₈ inches)
Signed lower right, Paulémile and dated, Morgny-Eure 1927 -
Paulémile Pissarro (1884 - 1972)
Les poules au village
Graphite on paper
32 x 23.5 cm (12 ⁵/₈ x 9 ¹/₄ inches)
Signed lower middle-left, Paulémile-Pissarro-
Executed circa 1934 -
Paulémile Pissarro (1884 - 1972)
Le Village de Landel
Etching
17.2 x 23.7 cm (6 ¾ x 9 ⅜ inches)
Signed lower right, Paulémile-Pissarro and numbered lower left, 2e etat No 1 -
Paulémile Pissarro (1884 - 1972)
Moulin Vardon près Gournay
Graphite on paper
32 x 23.5 cm (12 ⁵/₈ x 9 ¹/₄ inches)
Signed lower right, Paulémile-Pissarro-, and titled lower left
Executed circa 1934 -
Paulémile Pissarro (1884 - 1972)
Paysage
Pencil on paper
12.1 x 19.1 cm (4 ³/₄ x 7 ¹/₂ inches)
Signed lower left Paulémile-Pissarro- -
Paulémile Pissarro (1884 - 1972)
Bois de Boulogne
Graphite on paper
32 x 23.5 cm (12 ⁵/₈ x 9 ¹/₄ inches)
Signed lower right, Paulémile-Pissarro-, and titled lower left
Executed circa 1934 -
Paulémile Pissarro (1884 - 1972)
Les Devoirs
Graphite on paper
20.2 x 27 cm (8 x 10 ⁵/₈ inches)
Signed lower left, Paulémile-Pissarro- and dated upper left
Executed in 1951 -
Paulémile Pissarro (1884 - 1972)
Études sur Titu
Watercolour and pencil on paper
33.5 x 23.6 cm (13 ¹/₄ x 9 ¹/₄ inches)
Signed lower middle Paulémile-Pissarro- and inscribed upper right Titu
Executed circa 1937 -
Paulémile Pissarro (1884 - 1972)
Carte de l'Europe
Graphite on paper
12.9 x 20 cm (5 ¹/₈ x 7 ⁷/₈ inches) -
Paulémile Pissarro (1884 - 1972)
Yvonne Posant
Graphite on paper
32 x 23.5 cm (12 ⁵/₈ x 9 ¹/₄ inches)
Signed lower right, Paulémile-Pissarro-, and titled lower right
Executed in 1934 -
Paulémile Pissarro (1884 - 1972)
Yvonne Assise
Graphite on paper
32 x 23.5 cm (12 ⁵/₈ x 9 ¹/₄ inches)
Signed lower left, Paulémile-Pissarro-, and titled lower left
Executed in 1934 -
Paulémile Pissarro (1884 - 1972)
Yvonne Jouant au Tennis
Graphite on paper
20.2 x 27 cm (8 x 10 ⁵/₈ inches)
Signed lower left, Paulémile-Pissarro- -
Paulémile Pissarro (1884 - 1972)
Etude d'Yvonne
Coloured pencil and pencil on paper
32 x 23.5 cm (12 ⁵/₈ x 9 ¹/₄ inches)
Signed middle, Paulémile-Pissarro, and titled middle
Executed in 1934 -
Paulémile Pissarro (1884 - 1972)
Figures de Profil
Pencil on paper
12.9 x 20 cm (5 ¹/₈ x 7 ⁷/₈ inches)
Signed lower right, Paulémile-Pissarro- -
Paulémile Pissarro (1884 - 1972)
Le Ramassage de Foin
Charcoal on paper
26 x 33 cm (10 ¹/₄ x 13 inches)
Signed lower left, Paulémile- Pissarro- -
Paulémile Pissarro (1884 - 1972)
Etude d'une Maraîchère coupant l'herbe
Ink on paper
22.6 x 30.9 cm (8 ⁷/₈ x 12 ¹/₈ inches)
Stamped lower left, Paulémile-Pissarro -
Paulémile Pissarro (1884 - 1972)
Le Ramassage des Foins
Graphite on paper
12.9 x 20 cm (5 ¹/₈ x 7 ⁷/₈ inches)
Signed lower left, Paulémile-Pissarro- -
Paulémile Pissarro (1884 - 1972)
Hommes Pagayant
Graphite and charcoal on paper
27 x 20.3 cm (10 ⁵/₈ x 8 inches)
Signed lower right, Paulémile-Pissarro- -
Paulémile Pissarro (1884 - 1972)
Pêcheurs
Pencil on paper
23.1 x 30.9 cm (9 ¹/₈ x 12 ¹/ inches)
Stamped lower left, Paulémile-Pissarro- -
Paulémile Pissarro (1884 - 1972)
Le Pont du Vey
Charcoal on paper
24.5 x 31.5 cm (9 ⁵/₈ x 12 ³/₈ inches)
Signed with Estate stamp lower centre and upper right
Executed circa 1940s -
Paulémile Pissarro (1884 - 1972)
Etude de Chiens
Ink on paper
23 x 31 cm (9 x 12 ¹/₄ inches)
Signed with estate stamp lower left -
Paulémile Pissarro (1884 - 1972)
Etude de Poules
Ink on paper23 x 31 cm (9 " x 12 ¹/₄ inches)Signed with estate stamp lower left -
Paulémile Pissarro (1884 - 1972)
Camille Pissarro – d’après le plâtre de Polin
Etching
20.4 x 16.5 cm (8 x 6 ¹/₂ inches)
Titled lower left and numbered, 7th state, no. 1
For more available works please contact us on stern@pissarro.com or +44 (0)20 7629 6662.

Paulémile Pissarro, Camille Pissarro’s youngest son, was born in Éragny in 1884 where he was brought up within the creatively fertile environment of his family home and, encouraged by his father, began drawing at an early age. Paulémile’s godfather was Claude Monet, who became his teacher and legal guardian after Camille’s death in 1903.
In 1905 Paulémile exhibited at the Salon des Indépendants for the first time. Although his father had supported Paulémile’s desire to be an artist, his mother was eager for him to learn a more practical trade. Therefore in 1908 he put aside his artistic pursuits to work as an automobile mechanic and test-driver, then later as a lace and textile designer, allowing him only a limited time to paint. Paulémile only fully dedicated himself to painting following a letter from his brother Lucien in London, who wrote to invite him to take part in an exhibition held in London. Subsequent to the successful sale of a number of watercolours he had sent over, the young artist became inspired to leave the textile factory and pursue a career in art.
By the 1920s Paulémile had become an established Post-Impressionist artist in his own right, spending the summer months escaping from Paris on painting trips with fellow artists Kees Van Dongen, Raoul Dufy, Maurice de Vlaminck and André Dunoyer de Segonzac. In 1922 Paulémile purchased a house in Lyons-la-Forêt, a small village within the region of his hometown of Éragny and Giverny, where he moved in with his first wife Berthe Bennaiche. During this time, he developed a form of Cubism inspired by Paul Cézanne whom he dearly admired, creating some wonderful paintings of the river Eure and its surrounding villages. There he formed a close friendship with his neighbour, the famous Art Deco designer Émile-Jacques Ruhlmann, who designed a stunning Art Deco studio for Paulémile adjacent to his house.
In 1930 he visited and fell in love with the Swiss Normandy area in the Calvados region, in particular the River Orne which runs through the valley adjacent to the villages of Clécy and St. Remy. The combination of rolling hills, bold meadows and the calm river weaving its way through the landscape offered Paulémile a new burst of inspiration. With his second wife Yvonne Beaupel, Paulémile eventually moved to Clécy in 1935, where he would remain for the rest of his life. Of their three children, both H. Claude and Yvon also became artists.
With his house backing on to the river Orne, Paulémile developed a new way of working using a boat as a floating studio, where he spent countless days painting the calm waters from between the riverbanks. Here the influence of his godfather Claude Monet became apparent, particularly in Paulémile’s depiction of water, which was revolutionised by the Impressionist icon. He also applied Monet’s lessons in horticulture to the creation of an abundant garden, offering him many more motifs for his new paintings. Alongside these river landscapes, he also painted the neighbouring hay fields, various snow scenes, some interiors and still lives. The most ambitious work in his oeuvre was a fresco painted on all four walls of his own dining room, depicting the adjacent river in which he includes family members, neighbours and friends.
In 1967 Paulémile had his first one-man show in the United States at Wally Findlay Galleries in New York. This led to widespread recognition and a degree of professional success that few Pissarro artists knew during their lifetime. Since his death in 1972, Paulémile remains one of the best known of Camille’s sons.
Read more
In 1905 Paulémile exhibited at the Salon des Indépendants for the first time. Although his father had supported Paulémile’s desire to be an artist, his mother was eager for him to learn a more practical trade. Therefore in 1908 he put aside his artistic pursuits to work as an automobile mechanic and test-driver, then later as a lace and textile designer, allowing him only a limited time to paint. Paulémile only fully dedicated himself to painting following a letter from his brother Lucien in London, who wrote to invite him to take part in an exhibition held in London. Subsequent to the successful sale of a number of watercolours he had sent over, the young artist became inspired to leave the textile factory and pursue a career in art.
By the 1920s Paulémile had become an established Post-Impressionist artist in his own right, spending the summer months escaping from Paris on painting trips with fellow artists Kees Van Dongen, Raoul Dufy, Maurice de Vlaminck and André Dunoyer de Segonzac. In 1922 Paulémile purchased a house in Lyons-la-Forêt, a small village within the region of his hometown of Éragny and Giverny, where he moved in with his first wife Berthe Bennaiche. During this time, he developed a form of Cubism inspired by Paul Cézanne whom he dearly admired, creating some wonderful paintings of the river Eure and its surrounding villages. There he formed a close friendship with his neighbour, the famous Art Deco designer Émile-Jacques Ruhlmann, who designed a stunning Art Deco studio for Paulémile adjacent to his house.
In 1930 he visited and fell in love with the Swiss Normandy area in the Calvados region, in particular the River Orne which runs through the valley adjacent to the villages of Clécy and St. Remy. The combination of rolling hills, bold meadows and the calm river weaving its way through the landscape offered Paulémile a new burst of inspiration. With his second wife Yvonne Beaupel, Paulémile eventually moved to Clécy in 1935, where he would remain for the rest of his life. Of their three children, both H. Claude and Yvon also became artists.
With his house backing on to the river Orne, Paulémile developed a new way of working using a boat as a floating studio, where he spent countless days painting the calm waters from between the riverbanks. Here the influence of his godfather Claude Monet became apparent, particularly in Paulémile’s depiction of water, which was revolutionised by the Impressionist icon. He also applied Monet’s lessons in horticulture to the creation of an abundant garden, offering him many more motifs for his new paintings. Alongside these river landscapes, he also painted the neighbouring hay fields, various snow scenes, some interiors and still lives. The most ambitious work in his oeuvre was a fresco painted on all four walls of his own dining room, depicting the adjacent river in which he includes family members, neighbours and friends.
In 1967 Paulémile had his first one-man show in the United States at Wally Findlay Galleries in New York. This led to widespread recognition and a degree of professional success that few Pissarro artists knew during their lifetime. Since his death in 1972, Paulémile remains one of the best known of Camille’s sons.