皮耶•福爾曼•馬丁（註：應為Pierre Firmin Martin，簽名"P_re Martin"），巴黎
杜杭-胡埃畫廊，巴黎（於1872年購得直到1957年）
維登斯坦公司，紐約（約於1963年購自上述人士處）
威廉•S•拉斯登夫婦，紐約（於1964年購自上述人士，賣出：倫敦佳士得，2002年2月4日，拍品編號9)
現有藏家購自上述拍賣會

「卡米耶•畢沙羅的油畫、粉蠟筆畫與水粉畫」，巴黎，杜杭-胡埃畫廊，1921年，品號16
「卡米耶•畢沙羅展覽」，巴黎，杜杭-胡埃畫廊（Durand-Ruel），1956年，品號12
「卡米耶•畢沙羅」，瑞士伯恩，藝術博物館，1957年，品號21，圖錄附圖版
「卡米耶•畢沙羅」，紐約，維登斯坦公司， 1965年，品號11
費城，費城藝術博物館，館方借展1994-99年
「卡米耶•畢沙羅：印象派的創新者」，耶路撒冷，以色列博物館與紐約，猶太博物館，1994-1995年，品號43，圖錄附彩色圖版
「印象派發展迄今：卡米耶•畢沙羅與其後人」，佛羅里達州羅德岱堡，德岱堡藝術館，2000年1-4月，品號17，圖錄附彩色圖版

魯特維克-魯道夫•畢沙羅與里奧奈洛•范裘利，《卡米耶•畢沙羅其人之藝術與作品》，巴黎，1939年，第1冊，品號164，第102頁，第2冊，圖版頁33，品號164
查爾斯•康斯特勒爾，《畢沙羅，城市與鄉村》，洛桑，1967年，品號8，圖版頁19
查爾斯•康斯特勒爾，《卡米耶•畢沙羅》，米蘭，1974年，品號4，圖版頁21
魯特維克-魯道夫•畢沙羅與里奧奈洛•范裘利，《卡米耶•畢沙羅其人之藝術與作品》，三藩市，1989年出版，第1冊，品號164，第102頁與第2冊，圖版頁33，品號164
理查•R•布瑞特爾，《卡米耶與龐圖瓦茲，入畫的風景》，倫敦，1990年，第158頁
瓦金•畢沙羅，《卡米耶•畢沙羅》，紐約，1993年，品號113，圖版頁118
瓦金•畢沙羅與克萊兒•杜杭-胡埃•諾阿厄茲 ，《畢沙羅畫作專題目錄》，米蘭，2005年，第2冊，品號261，圖版頁210

This work is in very good condition. Canvas is lined. Under UV light there is minor inpainting along the top edge and the upper part of the right edge to address frame abrasion.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Pissarro's Pontoise landscapes from the early 1870s represent a milestone in the Impressionist movement that would have a lasting effect on both his contemporaries and subsequent generations. In the present work from 1872, Pissarro depicts a pastoral scene in L'Hermitage, a township in the Pontoise region. Joachim Pissarro and Claire Durand-Ruel Snollaerts, authors of the artist's recent catalogue raisonné, identify the house at the center of this composition as that which is situated on the rue de la Côte-du-Jalet (now the rue Victor-Hugo). Visible in the foreground is the ravine de Saint-Antoine and in the distance is the Côte Saint-Denis (J. Pissarro & C. Durand-Ruel Snollaerts, op. cit., p. 211).

The significance of these early paintings by Pissarro is inextricably linked with a dialogue between the artist and Cézanne during the early 1870s. The two artists would often paint side by side in Pontoise and Auvers-sur-Oise during these years, drawing inspiration from the other. The exchange between these artists revealed the formal revolution inherent in the Impressionist movement and the influence this would have upon future generations. Joachim Pissarro writes of their mutual aim, "... both artists wished to reach the same goal: harmony. What kind of harmony, then? 'Art is harmony parallel to nature' is perhaps Cézanne's most famous statement. Only three weeks before the great Vollard retrospective of Cézanne's works, in 1895, and only a couple of years before this statement, Pissarro summed up what the Impressionist trajectory had been about: 'Here is the true Impressionist way: nothing garish, but colors in harmony and value.' And Pissarro concluded that this is highly noticeable, because it's very rare." (J. Pissarro, Cézanne & Pissarro: Pioneering Modernism (exhibition catalogue), The Museum of Modeℱrn Art, 2005, pp. 45-46).