The Pissarros in England

THE PISSARROS IN ENGLAND

THE PISSARROS IN ENGLAND Online exhibition 30 March - 29 April 2021

Stern Pissarro Gallery 66 St. James’s Street, London SW1A 1NE, UK Tel: +44 (0)20 7629 6662 Email: stern@pissarro.com www.pissarro.art

Front cover: Ludovic-Rodo Pissarro, Hyde Park Corner, oil on canvas (detail) Left page: H. Claude Pissarro, Fleet Street, pastel on card (detail)

INTRODUCTION The Pissarro family has had close ties with England ever since Camille first visited in 1870 in an attempt to escape the Franco-Prussian War. From this point onwards, descendants across all five generations would visit or live in the country at some point in their lives.

In 1890 Lucien moved to England permanently and married Esther with whom he had a daughter named Orovida. She lived in England her entire life and is considered a Modern British artist.

Lucien’s younger brothers, Georges Manzana and Felix spent a lot of time in London during the 1890s and lived close to Kew Gardens, where Felix died prematurely in 1897. He is buried in Richmond cemetery.

A few decades later, at the outbreak of the War in 1914, Camille’s fourth son, Ludovic-Rodo moved to West London where he lived until 1922.

The strong connection to England carried on with Lélia Pissarro, who has been living in London since 1988 following her marriage to David Stern and together they own and run our gallery.

This e-catalogue is separated into two parts, with the second dedicated solely to works by Ludovic-Rodo Pissarro, who first visited and painted in England in 1906. Many of his works are of topographical and historical interest and give us an interesting insight into life in London at the time.

This outstanding family tradition of artistic production, which continues to be redefined and reshaped by successive generations of Pissarro artists, harbours a close relationship with England. This connection is visually expressed through the paintings, watercolours, drawings, lithographs and woodcuts on display in this exhibition.

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Image: Camille Pissarro, Crystal Palace, circa 1870-71

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PART I Camille Pissarro Lucien Pissarro Orovida Pissarro H. Claude Pissarro Lélia Pissarro

CAMILLE PISSARRO (1830 - 1903) Camille Pissarro was one of the most influential members of the French Impressionist movement. Born 10th July 1830 in the Danish colony of Saint Thomas, Camille was the son of Frédéric and Rachel Pissarro. At the age of twelve, he went to school in Paris, where he displayed a penchant for drawing. With his parents disapproving of his interest in art, Camille left the island in 1852 with Danish artist Fritz Melbye to spend the next 18 months in Venezuela. After a brief return to St. Thomas he moved to Paris in 1855 to study at the Académie Suisse where he would meet many influential artistic figures of the period, including Claude Monet, Paul Cézanne, Édouard Manet and Pierre-Auguste Renoir.

In 1869 Camille moved to Louveciennes. The outbreak of the Franco-Prussian War in 1870 prompted him to relocate to London, where Camille painted a series of landscapes and architectural landmarks such as Crystal Palace, Dulwich College, St Stephen’s Church, Norwood and others. His knowledge of English helped him adapt to new surroundings fairly easily and he explored them thoroughly with other French artists who were based in London. He was introduced to the art dealer, Paul Durand-Ruel who supported him throughout his career. At this time, Pissarro and his close friend Claude Monet were able to visit museums together, where they could study and expand their understanding of the tradition of British landscape painting. It was also here that he married Julie Vellay, with whom he would have seven children. Upon returning to Louveciennes in June 1871, Camille discovered that many of the works he had left in his house had disappeared or become damaged during the Franco-Prussian war.

He revisited London later in 1892 and twice in 1897 where he stayed in Bayswater, Kew and Bedford Park. He recorded his impressions of London in several sketches and paintings.

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The above work on paper, titled Crystal Palace appears to relate to a watercolour by Pissarro, titled Study of Upper Norwood, London, with All Saints church, located in in the Ashmolean Museum, Oxford. The dimensions of the watercolour and the drawing in question are almost identical and are therefore most likely from the same sketching tablet. Crystal Palace depicts a wider view of the landscape, with the landmark of Crystal Palace visible in the distance.

Both landscapes are characteristic of Pissarro’s artistic vision, which places no more importance to the monument of Crystal Palace than to the small suburban dwellings and landscape surrounding it. Although Crystal Palace does not relate directly to an oil painting, Pissarro executed two paintings of the Crystal Palace, titled, Crystal Palace Viewed from Fox Hill, Upper Norwood and Crystal Palace, Upper Norwood both from 1871. The drawing provides valuable evidence of the artist’s working methods at an important moment in his life.

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Crystal Palace Pencil on paper 24.5 x 38.5 cm (9 5/8 x 15 1/8 inches) Inscribed lower left, Cristal Palace Executed circa 1870-71 Provenance Private collection, London This work is accompanied by a letter of authenticity from Dr Joachim Pissarro and will be included in the forthcoming Catalogue Raisonné of Drawings by Camille Pissarro

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LUCIEN PISSARRO (1863 - 1944) Lucien Pissarro was born on 20 February 1863 in Paris, the eldest son of Camille Pissarro and Julie Vellay. He first visited England in 1870, when the Pissarro family fled to London during the Franco-Prussian War. In June 1871 they returned to Louveciennes and shortly thereafter moved to Pontoise. As a child, Lucien was in the constant company of his father’s peers – Cézanne, Manet and Monet, in particular. In such surroundings, and nurtured by the constant encouragement, advice and instruction of his father, Lucien began to draw and paint.

He became a skilled painter in oils and watercolour, a wood engraver and a lithographer.

Lucien returned to England in 1883, a visit marking the beginning of a long association with the country. On his return to France in spring 1884, his activities rapidly expanded to making children’s books, studying the technique of wood engraving and learning the process of printing colour blocks. In 1890, Lucien moved to England permanently. He married Esther Bensusan in 1892 and in 1894, founded the Eragny Press in Hammersmith, which published limited editions of beautifully illustrated books. Several titles were published between 1894 and 1914, the first being Queen of the Fishes.

Lucien’s work is fascinating for its combination of French and English artistic traditions. As the son of Camille and a firsthand witness of the Impressionist movement, Lucien played a vital role in championing Impressionism in England. He was a founding member of the Camden Town Group (withdrawing when it was absorbed by the London Group), an exhibiting society of artists, the name of which has become synonymous with a distinctive style of painting and period in British art history before the First World War. In 1916 Lucien became a naturalised British subject. From 1913-19 he recorded the English landscape of Dorset, Westmorland, Devon, Essex, Surrey and Sussex, without theatrical or romantic overtones. These visits, interspersed with seasons in Derbyshire, South Wales and Essex, continued until 1937.

To the end, landscape remained his chosen means of expression; only rarely did he produce still-lifes, and the handful of portraits he painted were all of his family.

Of all of Camille’s seven children, Lucien was perhaps closest to his father. After his first visit to England, Camille initiated a long and almost daily correspondence with his son, and these letters constitute an important document in the history of Impressionism.

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This work was likely completed when Lucien Pissarro was staying at ‘Enterprise’, East Knoyle, near Salisbury. He is recorded at East Knoyle from at least 14th October 1916, and, judging from the very full foliage on the trees, he must have made the watercolour fairly soon after his arrival. The composition corresponds very closely with an oil painting of the same date, Sunny Afternoon, Milton, East Knoyle, exhibited in 1917.

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Milton Bottom, East Knoyle Colour crayons and ink on paper 12.7 x 21.6 cm (5 x 8 1/2 inches) Signed lower right with monogram Inscribed and dated lower right, Milton Bottom Knoyle 1916 Provenance Private collection, London This work is accompanied by a letter of authenticity from Colin Harrison, Senior Curator of European Art at the Ashmolean, Oxford

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This work dates from the summer or autumn of 1916, when the artist was staying at the Old Manor, Sedgehill, Shaftesbury. By early October, he had moved a few miles away to East Knoyle, where he remained until the following spring.

This was an especially productive period in Lucien’s life as a landscape artist, after he had given up designing and printing books for his Éragny Press. His naturalization papers, signed in July 1916, offered him for the first time the security of having a certain nationality, British, which was especially important in the time of war. As his brother Ludovic-Rodo discovered, the French considered Camille Pissarro’s children to be Danish, and the Danish thought them French; so they were effectively stateless. In addition to the paintings of Sedgehill, Milton and East Knoyle, Lucien planned but did not execute several views of Shaftesbury.

These are recorded in sketchbook 62 in the Ashmolean Museum, Oxford, and in a number of finished drawings and watercolours such as the present work.

The provenance of the drawing is especially interesting. It comes from the collection of Edith Brown, whose husband was James Brown (1863-1943). Although Brown was an exact contemporary of Lucien’s, he did not begin painting seriously until 1912, when his work attracted the attention of the critic, Frank Rutter, who introduced him to Lucien. In early 1913, Brown and Lucien went on a painting expedition to Devon, and later in the same year, they were joined by James Bolivar Manson to holiday at Rye. In the following year, Manson was with Lucien at Chipperfield, and Brown spent a weekend with him at Farnham. The three came together once again in the last fortnight in September, while Lucien was at Shaftesbury.

Hitherto, the only evidence for Brown’s presence has been the tiny sketch he made of Lucien painting at Sedgehill; but Lucien’s drawing of Shaftesbury confirms that he was there. No doubt, Lucien gave it to Brown as a sourvenir of another happy holiday together.

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Shaftesbury Colour crayons and watercolour on paper 12.7 x 21.6 cm (4 7/8 x 8 1/4 inches) Signed lower left with monogram Inscribed and dated lower right, Shaftesbury 1916 Provenance James Brown, circa 1916 (possibly a gift from the artist) Edith Brown (wife of the above) Michael Parkin Fine Art Ltd., London A.J. MacDonald-Buchanan Miss C.G. Foreman This work is accompanied by a letter of authenticity from Colin Harrison, Senior Curator of European Art at the Ashmolean, Oxford

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Wotton-under-Edge Watercolour, ink and crayon on paper 14.6 x 18.5 cm (5 3/4 x 7 1/4 inches) Signed with monogram and dated lower left, 1920 Inscribed lower right, Wotton-under-Edge Provenance Private Collection, London Exhibition Colchester, The Minories, The R.A. Bevan Collection, July - August 1975, no. 119 Sudbury, Gainsborough’s House, The Bevan Collection: A Selection of Paintings by British Artists including the Camden Group, 5 - 27 August 1978, no. 40 The work will be accompanied by a letter of authenticity from Colin Harrison, Senior Curator of European Art at the Ashmolean, Oxford

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OROVIDA CAMILLE PISSARRO (1893 - 1968) Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies.

She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien’s disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her visits to the Brisith Museum to discover Chinese paintings inspired her and she would frequently observe animals first-hand at the London Zoo which led her depict the local people of the exotic countries they originally inhabited. She once famously stated in a newspaper interview that the furthest east she has ever travelled was to the British Museum. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy.

She exhibited at the Royal Academy, the Royal Society of British Artists and had many solo exhibitions in London and North America. Her mother Esther had established the Pissarro family archive at the Ashmolean Museum in Oxford, and Orovida played a significant role in developing it.

Orovida died at 13 Redcliffe Gardens, London on 8 August 1968. The Ashmolean Museum held a memorial exhibition in 1969 in honour of Orovida.

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Landscape in Devon Pencil on paper 19.3 x 25.7 cm (7 5/8 x 10 1/8 inches) Executed circa 1917 This work is accompanied by a certificate of authenticity from Lélia Pissarro

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Trees in Yellow Landscape, Devon Watercolour on paper 18 x 25.7 cm (7 1/8 x 10 1/8 inches) Executed in 1917 This work is accompanied by a certificate of authenticity from Lélia Pissarro

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H. CLAUDE PISSARRO (B. 1935) Hugues Claude Pissarro, also known professionally as H. Claude Pissarro, is the grandson of the Impressionist painter Camille Pissarro and son of Paulémile Pissarro, Camille’s youngest son. Born in Neuilly-sur-Seine and enveloped in an artistic environment, he inevitably spent his childhood and youth with brushes in hand. Carrying on the family tradition established by Camille Pissarro, H. Claude’s father frequently took his son on painting excursions, often accompanied by his numerous artistic friends which proved formative for him. H. Claude’s work has evolved through a variety of different styles and techniques, including abstract, avant-garde, minimalist and conceptual art. However, he is now perhaps best known for his Post-Impressioniststyle works, which have been exhibited throughout the world since 1985.

H. Claude has been living in Ireland for almost thirty years. His subjects are drawn largely from his native France, London and Venice amongst other locations. In comparison to other members of the Pissarro family, H. Claude depicted the areas of England from his studio in Ireland. The various cityscapes and landscapes of the country continue to inspire him. In these post-impressionist works, his aim is to capture the romantic past, a world which no longer exists, where horses and carts thronged the streets and cars were a new invention.

His figures are dressed in 19th-century fashion and so we are taken on a journey back in time.

Unlike the other descendants of Camille Pissarro, H. Claude does not paint English subjects ‘en plein air’, he works with dedication and the impressionist technique in his studio in Ireland. He is widely exhibited in London and we have been his sole agents for over 20 years.

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Fleet Street Pastel on card 37 x 51 cm (14 5/8 x 20 1/8 inches) Signed lower centre, H. Claude Pissarro This work is accompanied by a certificate of authenticity from the artist

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LELIA PISSARRO (B. 1963) Born in Paris in 1963, Lélia is the third and youngest child of Hugues-Claude and Katia Pissarro. She was raised in the loving care of her grandparents Paulémile Pissarro, Camille’s youngest son, and his wife Yvonne, in Clécy, Normandy.

In 1988, Lélia married English art dealer David Stern and moved to London. Their three children Kalia, Lyora and Dotahn, all paved their own way in the art world. From 1995 Lélia participated in a series of exhibitions entitled Pissarro – The Four Generations, which were held in galleries in London, Tel Aviv, Boston, Austin, San Francisco, Cleveland, Milwaukee and Los Angeles as well as a number of museums in Japan in 1998 and the Museum of Art in Fort Lauderdale, Florida in 2000. In 1999 Lélia also became one of the founders of the Sorteval Press, a group of artists dedicated to developing techniques in etching and printmaking.

Their first exhibition took place at the Mall Gallery in London.

To coincide with a major exhibition at Stern Pissarro Gallery in London in 2010, a book entitled The Colours of Silence was published on her entire career, documenting the steps in Lélia’s life story while offering a retrospective view of her works which amply attest to her artistic diversity and sustained spirit of adventure.

Working today from her London studio located by Richmond Park and the river Thames, Lélia upholds the legacy of painting en plein-air while simultaneously continuing to explore modern techniques. She works dedicatedly on a selection of different series all created in her home studio, a carefully crafted space designed to meet her evolving requirements.

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Richmond Park Sous-Bois Watercolour on paper 20.5 x 23 cm (8 1/8 x 9 inches) Signed lower right, Lélia Pissarro Executed in 2020 This work is accompanied by a certificate of authenticity from the artist

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Le Jardin de Lélia Pissarro Oil on canvas 50 x 61 cm (19 3/4 x 24 inches) Signed lower right, Lélia Pissarro; signed on reverse Executed in 2020 This work is accompanied by a certificate of authenticity from the artist

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Nature at Coombe Hill Golf, Richmond Park Watercolour on paper 20.5 x 29 cm (8 1/8 x 11 3/8 inches) Signed lower left, Lélia Pissarro Executed in 2020 This work is accompanied by a certificate of authenticity from the artist

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Le Chemin, Richmond Park Watercolour on paper 20.5 x 28.5 cm (8 1/8 x 11 1/4 inches) Signed lower right, Lélia Pissarro Executed in 2020 This work is accompanied by a certificate of authenticity from the artist

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Isabella Plantation, Richmond Park Oil on paper 12.3 x 8.7 cm (4 7/8 x 3 3/8 inches) Signed lower right, Lélia Pissarro Executed in 2021 This work is accompanied by a certificate of authenticity from the artist

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Isabella Plantation, Richmond Park ‘Walk beside me’ Oil on paper 16.2 x 10.1 cm (6 3/8 x 4 inches) Signed lower right, Lélia Pissarro Executed in 2021 This work is accompanied by a certificate of authenticity from the artist

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PART II Ludovic-Rodo Pissarro (1878-1952) Ludovic-Rodolphe Pissarro, born in Paris in 1878, was Camille Pissarro’s fourth son. Encouraged by his father, he began drawing from nature at an early age. His artistic production encompassed a wide range of media including oil painting, tempera, watercolour, gouache, wood engraving, drawing and lithography.

At the outbreak of the War in 1914, Rodo moved to England and married Fernande Perrinet in Brentford. Over the next few years he lived mainly in and around West London. He worked closely with his brother Lucien to establish the ‘Monarro Group’, formed in 1915, with the aim of exhibiting works by contemporary artists inspired by Impressionism. The title of the group was derivative of Monet and Pissarro names. Claude Monet was the honorary president and Theo van Rysselberghe acted as the group’s secretary in Paris, whereas in England it was James Bolivar Manson.

Many of the works produced by Rodo while he was in England were of major London landmarks such as Piccadilly Circus, Tottenham Court Road and Hyde Park. He also depicted suburban views in West and South-West London, in particular Acton, Hammersmith, Richmond and Bedford Park. He lived on Bedford Road, in Bedford Park, between 1919 and 1922 and returned to France where he divided his time between Paris and Les Andelys in Normandy.

His brother Lucien remained in England and Ludovic-Rodo visited him as often as he could.

During his stays in London he painted various watercolour scenes, often carcicatural, of London and the suburbs. He was a prolific painter of London’s topographical scenes and many of his paintings depicted scenes of daily life in Hammersmith and Chiswick.

Despite his rich artistic heritage and his achievements as an artist, Rodo is perhaps best remembered for his contribution to art history. For twenty years, he researched and compiled a catalogue of his father’s paintings – a project that was finally published in two volumes in 1939 – and is still considered to be the definitive reference book on Camille’s work. * All artworks are accompanied by a certificate of authenticity from Lélia Pissarro

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Posters on Sheen Road, London Oil on canvas 46.1 x 55 cm (18 1/8 x 21 5/8 inches) Signed lower left, Ludovic Rodo Executed circa 1917 Provenance Private Collection, France

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Hyde Park Corner Oil on canvas 55 x 81 cm (21 5/8 x 31 7/8 inches) Signed lower right, Ludovic Rodo Executed circa 1920 Provenance Private Collection, United Kingdom Exhibition Paris, Grand Palais, Trente Ans d’Art Indépendant 1884-1914, 20 February - 21 March 1926

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Goldhawk Road Watercolour and pencil on paper 13.8 x 8.8 cm (5 3/8 x 3 1/2 inches) Inscribed lower left, Goldhawk Road Executed circa 1906 Provenance Private Collection, London

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The Promenade, Margate Watercolour and pencil on paper 29 x 41 cm (11 3/8 x 16 1/8 inches) Signed and inscribed lower left, Margate Ludovic Rodo Executed circa 1906

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At the Prince of Wales’s Watercolour and ink on paper 14 x 13 cm (5 1/2 x 5 1/8 inches) Signed with the artist’s initials lower center Iscribed lower left, At the Prince of Wales’s 41

Funeral Watercolour and ink on paper 17.6 x 21.2 cm (6 7/8 x 8 3/8 inches) Signed with artist’s initials lower left

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Henley Regatta on the Thames Watercolour and ink on paper 26.2 x 36.7 cm (10 1/4 x 14 1/2 inches) Signed and dated lower left, Ludovic Rodo 1922 Provenance Private collection, Sweden

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The Tea Room, Richmond Watercolour and ink on paper 12.3 x 13.4 cm (4 7/8 x 5 1/4 inches) Signed lower right, Ludovic Rodo Inscribed lower left, Tea Room Richmond Executed circa 1918 45

In the Pub Watercolour and ink on paper 11 x 12.6 cm (4 3/8 x 5 inches) Signed with the Artist’s initials lower left Executed circa 1918

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Houses and Garden, Ashford Watercolour, brown ink and pencil on paper 21.5 x 28 cm (8 1/2 x 11 inches) Signed lower right, Ludovic Rodo Executed circa 1916

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Bedford Park Watercolour on paper 24.5 x 38 cm (9 5/8 x 15 inches) Signed, inscribed and dated lower left, Bedford Park 1928 Ludovic Rodo Provenance Private collection, London

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Staines Watercolour and ink on paper 17.5 x 17.5 cm (6 7/8 x 6 7/8 inches) Signed lower left, Ludovic-Rodo and titled Staines Executed circa 1917 Provenance David Cohen, London

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Back from India Watercolour and ink on paper 21.5 x 18 cm (8 1/2 x 7 1/8 inches) Initialled and titled lower left Executed circa 1918 Provenance David Cohen, London

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Richmond Park Watercolour and ink on paper 9 x 16.5 cm (3 1/2 x 6 1/2 inches) Initialled lower left, L.R. and titled lower right, Richmond Park Executed circa 1918 Provenance David Cohen, London

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The Welsh School Watercolour and ink on paper 17.5 x 27.5 cm (6 7/8 x 10 7/8 inches) Signed lower left, Ludovic-Rodo and titled lower right, The Welsh School Executed circa 1917 Provenance David Cohen, London

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Business as Usual Watercolour and ink on paper 17 x 13.5 cm (6 3/4 x 5 1/4 inches) Initialled lower right, L.R. Executed circa 1917 Provenance David Cohen, London

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Bad Form in Dress Watercolour and ink on paper 17.5 x 19 cm (6 7/8 x 7 1/2 inches) Initialled lower left, L.R. Executed circa 1918 Provenance David Cohen, London

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Laleham Road, Ashford Ink on paper 25.6 x 20 cm (10 1/8 x 7 7/8 inches) Inscribed and dated lower right, Ashford 30 dec 1917

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The Diggers in Ashford Ink on paper 22.6 x 17.3 cm (8 7/8 x 6 3/4 inches) Signed lower left with Estate stamp Inscribed and dated lower right, 1918 56

Tavistock Crescent, Westbourne Park Pencil on paper 13.5 x 20.1 cm (5 1/4 x 7 7/8 inches) Inscribed lower left, Tavistock Crescent Westbourne Park Inscribed upper right, Two signs of decay, to love only beautiful women and to tolerate evil books

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Fleet Street Pencil on paper 12.5 x 19 cm (4 7/8 x 7 1/2 inches) Initialled and titled lower right Executed circa 1918 Provenance David Cohen, London

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Back to the Land “Farming” Colour wood engraving 17.8 x 9.2 cm (7 x 3 5/8 inches) Initialed, titled in the plate and numbered, 4th state no.4 Executed circa 1918

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Mornington Crescent Wood engraving 12.5 x 6.3 cm (4 7/8 x 2 1/2 inches) Signed lower right, Ludo Rodo, numbered lower left, no 6 and titled in the plate Executed circa 1918 Provenance David Cohen, London

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Fleet Street Wood engraving 11.2 x 11.2 cm (4 3/8 x 4 3/8 inches) Initialed, titled, dated in the plate and signed lower right, Ludovic Rodo and numbered lower left, no2 Executed in 1918 Provenance David Cohen, London

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Leicester Square, London Wood engraving 14.2 x 11.5 cm (5 5/8 x 4 1/2 inches) Initialed in the plate and signed in pencil lower right, Ludovic Rodo Artist’s proof No.8 Executed circa 1917 Exhibition Fort Lauderdale, Museum of Art, Camille Pissarro and his Descendants, January-April 2000, No.149

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Greek Street Wood engraving 8 x 9 cm (3 1/8 x 3 1/2 inches) Initialed and titled in the plate Signed lower right, Ludovic-Rodo and numbered lower left, 7 Executed in 1917 63

York Road Wood engraving 13.2 x 9 cm (5 1/4 x 3 1/2 inches) Initialed and titled in the plate Signed lower right, Ludovic Rodo and numbered lower left, 17 Executed circa 1918 64

Rotten Row (Hyde Park) Wood engraving 13.5 x 12.5 cm (5 1/4 x 4 7/8 inches) Initialed and titled in the plate Executed circa 1917 65

After Tea Wood engraving 12 x 13.5 cm (4 3/4 x 5 1/4 inches) Initialed and titled in the plate Executed circa 1917 66

Reception Wood engraving 14 x 11.5 cm (5 1/2 x 4 1/2 inches) Initialed and titled in the plate Signed lower right, Ludovic Rodo and numbered lower left, 14

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Bank Holiday Wood engraving 15.2 x 11.5 cm (6 x 4 ½ inches) Initialed and titled in the plate Signed lower right, Ludovic Rodo and numbered lower left, 9 Executed circa 1919 68

Stern Pissarro Gallery 66 St. James’s Street, London SW1A 1NE, UK Tel: +44 (0)20 7629 6662 Email: stern@pissarro.com www.pissarro.art