Estate of the artist
Georges Manzana-Pissarro (the artist's son, by descent from the above in 1904)
G. Urion, Paris (sale: Galeries Georges Petit, Collection de M. G. Urion, 30th-31st May 1927, no. 79)
Gaston Dreyfus (purchased at the above sale)
Sale: Sotheby's, London, 4th February 2004, lot 218
Purchased at the above sale by the present owner

Joachim Pissarro & Claire Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures, Paris, 2005, vol. III, no. 1024, illustrated in colour p. 659 

The canvas is not lined and there are no signs retouching visible under UV light. Apart from two fine hairline cracks to the paint surface which correspond with the central vertical stretcher bar, this work is in very good condition. Colours: Overall fairly accurate, although slightly fresher and brighter in the original than in the printed catalogue.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In March of 1884 Camille Pissarro wrote to his son Lucien stating, 'Yes, we have decided for Eragny on the Epte [near Gisors]. The house is wonderful... with garden and fields. It is about two hours from Paris. I found the country much more beautiful than Compiegne,... But here comes the spring, the fields are green, outlines are delicate in the distance...' (quoted in John Rewald, Camille Pissarro, Letters to his son Lucien, London, 1980, p. 58). Pissarro was to remain in Eragny fo𒉰r the rest of his life, creating his largest and most significant body of work within the landscape genre.

Joachim Pissarro describes his great-grandfather's production in Éragny: 'Unlike Pontoise, whose tensions were those of a suburban town, semi-rural and semi-urban, in Éragny no signs of industry could be observed for miles. Varied expanses of pasture and cultivated land complete the visual field. However, Éragny's earthly space is not banal. For twenty years Pissarro concentrated on this very confined area, on the visual material offered by the stretch of meadows lying in front of him, informed by poplars, gates, the river, and produced over two-hundred paintings of these motifs. His representation of these fields and gardens constitute the most spectacularly intense pictorial effort to 'cover' a particular given space in his career' (Joachim Pissarro, Camille Pissarro, New York, 1993, p. 225).

Vue de Bazincourt, brouillard was painted in Éragny and portrays the view from the meadows in front of Pissarro's house across the valley of the river Epte, with the steeple of the church in Bazincourt visible in the distance. The work demonstrates Pissarro's talent for translating atmospheric effects on local landscapes into subtle juxtapositions of colour. The spire of the church in the centre of the composition quietly blends in to its surroundings, masked by a fog that has enveloped the entire scene. In contrast the rooftops below the church are far more visible, with uncharacteristically thick impasto emphasising their individual structures. Framed by poplar trees engulfed in a violet haze this painting perfectly captures the atmosphere of a foggy morning 🍌in Northern, rural France.