Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 8

Lelia Pissarro
The Four Seasons - Winter by Lélia Pissarro - Serigraph

About the Item

SOLD UNFRAMED The Four Seasons - Winter by Lélia Pissarro (b. 1963) Serigraph image size: 49.5 x 60 cm (19 ½ x 23 ⅝ inches) sheet size: 60.5 x 70 cm (23 ¾ x 27 ½ inches) Signed and numbered, 230/300 Printed in an edition of 300 Artist biography Born in Paris in 1963, Lélia is the third and youngest child of Hugues-Claude and Katia Pissarro. She was raised, however, in the loving care of her grandparents Paulémile Pissarro, Camille’s youngest son, and his wife Yvonne, in Clécy, Normandy. From a young age, Lélia’s interest in drawing and painting was nurtured by her grandfather while she sat beside him at his easel, captivated. He taught her the fundamental Impressionist and Post-Impressionist techniques he had learnt from his father and brothers before him and watched as her skills blossomed rapidly. Standing readily on the shoulders of giants, Lélia sold her first painting to New York art dealer Wally Findlay, when she was only four years of age. When Lélia turned 11 she moved to Paris to live with her parents where, with the guiding support of her father’s teachings she began to broaden her skill sets. Under the watchful eye of her father Hughes Claude Pissarro, she became exposed to new environments and learnt to experiment with abstract styles and subjects. At age 14 Lélia submitted some of these works to the exhibition ‘Salon de la Jeune Peinture’ at the Luxembourg Museum in Paris. Being underage, however, she had to submit these works secretly under the pseudonym Rachel Manzana Pomié. With her parents dividing their time between France and California, Lélia found herself moving between Tours, Paris and San Francisco, all the while studying fine art and psychology at the University des Beaux Arts. She eventually settled in Paris to teach art at the Moria School and study oil painting conservation under the guidance of a teacher from the Louvre museum. During this time she began to present her work in solo exhibitions in Paris, Lyon, Mulhouse and Rennes. 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. In 2005 following a long break in painting because of cancer, Lélia started a journey into modern art creating a number of different series: Circles, Shoes, Animals, exploring these until she reached the point of abstraction and minimalism. Developing innovative techniques, she began incorporating in her work new materials such as gold, wax and encaustic paint. To coincide with a major exhibition at Stern Pissarro gallery 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 borne out of her home studio - a carefully crafted space designed to meet her evolving requirements. Besides her work as a painter, today Lélia is also a partner in Stern Pissarro Gallery and is the official expert for the work of her grandfather Paulémile Pissarro, as well her great uncles Manzana and Ludovic Rodo Pissarro. Amidst all this, Lélia still finds a way to make time to devote herself to another great passion, teaching.
More From This SellerView All
  • Curves by Orovida Pissarro, 1919 - Etching Print
    By Orovida Pissarro
    Located in London, GB
    Curves by Orovida Pissarro (1893 - 1968) Etching, trial proof no. 54 20.2 x 15 cm (8 x 5 ⅞ inches) Signed and dated lower right, Orovida 1919 Inscribed lower left Trial proof no. 54 ...
    Category

    1910s Post-Impressionist Animal Prints

    Materials

    Paper, Etching

  • Les Poules de Lyora by Lélia Pissarro - Etching and watercolour on paper
    By Lelia Pissarro
    Located in London, GB
    Les Poules de Lyora by Lélia Pissarro (b. 1963) Drypoint and watercolour on paper 21.5 x 26.5 cm (8 ¹/₂ x 10 ³/₈ inches) Signed lower left, Lélia Pissarro Numbered lower right, 10/15...
    Category

    21st Century and Contemporary Post-Impressionist Figurative Prints

    Materials

    Paper, Watercolor, Drypoint

  • Chatter by Orovida Pissarro - Etching
    By Orovida Pissarro
    Located in London, GB
    Chatter by Orovida Pissarro (1893-1968) Etching 26 x 19 cm (10 ¹/₄ x 7 ¹/₂ inches) Signed and dated lower right Orovida 1927 Inscribed lower left Trial proof no. 18/25 and titled lower middle Artist biography: 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 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. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...
    Category

    1920s Post-Impressionist Figurative Prints

    Materials

    Etching

  • Man & Beast by Orovida Pissarro - Etching
    By Orovida Pissarro
    Located in London, GB
    *UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Man & Beast by Orovida Pissarro (1893-1968) Etching 27 x 22 cm (10 ⁵/₈ x 8 ⁵/₈ inches) Signed and dated lower right, orovida 1924 Inscribed lower left, Final state no 12/40 and titled lower centre Artist biography: 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 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. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...
    Category

    1920s Post-Impressionist Animal Prints

    Materials

    Etching

  • Horse Pulling Hay Cart by Félix Pissarro - Animal etching
    By Félix Pissarro
    Located in London, GB
    Horse Pulling Hay Cart by Félix Pissarro (1874-1897) Etching 19.5 x 15 cm (7 ⅝ x 5 ⅞ inches) Exhibition London, Stern Pissarro Gallery, Camille Pissarro & hi...
    Category

    1890s Post-Impressionist Animal Prints

    Materials

    Etching

  • Procede by Georges Manzana Pissarro - Monotype of a bird
    By Georges Henri Manzana Pissarro
    Located in London, GB
    Procede by Georges Manzana Pissarro (1871-1961) Coloured monotype with gold, silver and pencil 24 x 30 cm (9¹/₂ x 11³/₄ inches) Signed lower right, Manzana Artist biogaphy Like all ...
    Category

    20th Century Post-Impressionist Animal Prints

    Materials

    Gold, Silver

You May Also Like
  • Le Nu Aux Oranges - Color Lithograph - 2007 - Henri Matisse
    By (after) Henri Matisse
    Located in Sint-Truiden, BE
    Color lithograph after the work by Henri Matisse, plate-signed by Matisse from the edition of 200. This lithograph was printed and published in 2007 in Paris using 100% cotton 300 g...
    Category

    Early 2000s Fauvist Nude Prints

    Materials

    Lithograph, Handmade Paper

  • La Marchande des Quatres-Saisons
    By Edgar Chahine
    Located in Middletown, NY
    Etching with drypoint on cream wove paper, 11 3/4 x 13 3/4 inches (297 x 347 mm), full margins. Signed in pencil and numbered 32/40, lower margin. Minor mat tone and several small lo...
    Category

    Early 20th Century Post-Impressionist Portrait Prints

    Materials

    Handmade Paper, Rag Paper, Drypoint, Etching

  • "Car La Race, Became the Race..., " Woodcut on Blue Paper by Louis Lepere
    By Auguste Louis Lepère
    Located in Milwaukee, WI
    "Car La Race" is an original woodcut on blue paper by Louis Auguste LePere. It depicts a centaur capturing a nude human woman in a flurry of motion and muscle. 16" x 13 3/8" art 16...
    Category

    1890s Post-Impressionist Figurative Prints

    Materials

    Paper, Woodcut

  • Colorful Cat Face - Transfer Monotype in Water Based Ink on Paper
    Located in Soquel, CA
    Colorful Cat Face - Transfer Monotype in Water Based Ink on Paper Original transfer monotype painting by California artist Heather Speck (American, 20th...
    Category

    1990s Fauvist Figurative Prints

    Materials

    Paper, Monotype, Ink

  • L'enfant et les Violons - Fauvist Abstracted Figurative
    By Théo Tobiasse
    Located in Soquel, CA
    "L'enfant et les violons" - colorful signed original lithography by Theo Tobiasse (Lithuanian, 1927 - 2012). He was born in Israel of Lithuanian parents. Signed lower right. Numbered...
    Category

    1970s Fauvist Figurative Prints

    Materials

    Paper, Lithograph

  • "King Pin" Pointillist Lithograph in Ink on Paper
    Located in Soquel, CA
    "King Pin" Pointillist Lithograph in Ink on Paper Detailed lithograph of a king on a bench by E.B. Rothewell (American, 1926-2011). A stylized portrait of a king, seated on a large bench. He is looking upwards, with a somewhat dejected expression, hands near his mouth. This piece is completely made from small dots (stippling) giving the subject the feel of a fantasy illustration...
    Category

    Late 20th Century Pointillist Figurative Prints

    Materials

    Ink, Lithograph, Paper

Recently Viewed

View All