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Stern Pissarro

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Stern Pissarro

Specialists in the Pissarro family, Impressionist, Modern, Post-War and Contemporary art. Founded in 1964.

30/05/2026

Executed in 1978, Seabed with Fallen Leaves is a refined example of Yayoi Kusama’s celebrated “Infinity Net” motif. First introduced in New York in 1959, these “Infinity Nets” became central to her distinctive style.

Following her return to Japan in the 1970s, Kusama continued to develop these immersive compositions. Using enamel paint on paper board, the present work is a strong example, rendered in light blue and silver tones, creating a unique metallic quality.

Yayoi Kusama, 'Seabed with Fallen Leaves', 1978

15/05/2026

Nu bleu (1944) was painted during a pivotal period in the life of André Masson, a leading figure of Surrealism. Exiled during the Second World War, Masson fled Nazi-occupied France in 1941, travelling through Martinique before settling in Connecticut, where he lived until returning to France in 1945.

His years in Connecticut were relatively calm, and a renewed attentiveness to nature became central to his work, with local flora influencing both form and colour. Around 1942, Masson also returned to automatism, the spontaneous, unconscious method he had helped pioneer in the early 1920s. Working in near-trance states, he sought to bypass rational thought and give direct expression to instinct and psychic intensity, an impulse that lay at the very heart of Surrealist practice.

During his exile, Masson’s proximity to artists such as Alexander Calder and Yves Tanguy further shaped his practice. The works he produced in the United States profoundly influenced younger American painters, particularly Jackson Po***ck and Arshile Gorky, and are widely seen as a bridge between Surrealism and Abstract Expressionism.

André Masson, 'Nu Bleu', 1944

09/05/2026

Executed in 1978, Visionary Wave Crest is an evocative example of Yayoi Kusama’s celebrated Infinity Net series, a body of work that has become central to her practice. First introduced in New York in 1959, the Infinity Nets marked Kusama’s breakthrough, establishing her distinctive visual language through dense, repetitive patterns that suggest endless expansion.

Following her rise in the New York art scene during the 1960s, Kusama returned to Japan and, in 1975, took up residence at the Seiwa Hospital in Tokyo, where she has continued to live and work. This period marked a renewed intensity in her practice.

Created using enamel and acrylic on canvas, the work has a unique and impressive texture. The 3-D surface adds to the depth of the nets and reflects the artist’s sustained, almost meditative engagement with repetition.

Yayoi Kusama, 'Visionary Wave Crest', 1978

26/04/2026

Created in 1927, Konstruktion reflects László Moholy-Nagy’s time at the Bauhaus (1923–1928) and the spirit of formal and technical innovation he developed there. A central figure within the school, he advanced an interdisciplinary approach, seeking to unify art, technology, and modernism.

The work coincided with his 1927 book ''Painting, Photography, Film', in which he explored new forms of visual communication, including photograms, collage, and montage. Executed in collage and pencil, Konstruktion draws on these ideas while also reflecting the influence of Dada, Constructivism, and Suprematism, echoing the abstract language associated with Kazimir Malevich.

The composition features intersecting red, orange, and black geometric forms. Diagonals and triangles create a sense of movement and spatial tension, while the interplay of light and opacity recalls the photogram, a camera-less image-making process first developed by Henry Fox Talbot.

László Moholy-Nagy, 'Konstruktion', 1927

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19/04/2026

Bernard Buffet, a leading postwar French Expressionist associated with the Jeunes Réalistes, painted this work in 1948. That same year, at just 20 years old, he was awarded the Prix de la Critique, shortly after his first solo exhibition in Paris.

Buffet is known for his distinctive linear style, often referred to as “le style Buffet,” defined by sharp, angular outlines rather than traditional modelling of depth and volume. While rooted in the conventions of still life, his approach reinterprets them with a stark, graphic clarity.

In this composition, a glass, fork, and stove are rendered with a restrained, near-monochromatic palette. Each object is isolated, contributing to a deliberate sense of stillness, tension, and quiet austerity.

Bernard Buffet, 'Nature morte au réchaud', 1948

12/04/2026

“I immediately saw a horse and the Eiffel Tower, it was obvious. I saw this upward surge toward the sky, rising from the earth. It’s an elevation that carries you.” - André Brasilier�

Each year, the Paris stage of the Longines Global Champions Tour entrusts its visual identity to a major artist. For its 12th edition, Virginie Coupérie-Eiffel chose to collaborate with French painter André Brasilier.

The horse motif has been an important component throughout Brasilier's oeuvre, making this collaboration a natural fit. Highlighting the unique dialogue between sport, art, and heritage, the show jumping series will take place from June 19 to 21 at the Champ de Mars, opposite the École Militaire.

Discover our selection of available works by André Brasilier by visiting our website: www.pissarro.art.

André Brasilier, 'Chevauchée Maritime', 2014

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05/04/2026

Wishing you a lovely Easter Bank Holiday weekend.

This charming 1900 watercolour captures the banks of the Seine at Asnières, just outside Paris, which was a favourite retreat for artists.

At the time, Asnières-sur-Seine was a popular riverside escape, celebrated by Impressionists like Van Gogh and Seurat for its landscapes, boating scenes, and floating pontoons.

Created at the height of his Neo-Impressionist period, it followed the publication of Signac’s 1899 book, ‘From Eugène Delacroix to Neo-Impressionism.’

Paul Signac, ‘La Seine à Asnières’, 1900

30/03/2026

Last day to visit us at the Salon du Dessin!

We hope to see you today 🥂

🔗 Plan your visit: www.salondudessin.com
📍Palais Brongniart, Place de la Bourse, 75002 Paris

29/03/2026

Degas often explored spectatorship in his work. A recurring motif of a woman peering through opera glasses appears in pieces linked to his 1866 painting Les Jockeys. Though she was omitted from the final canvas, her presence in preparatory sketches suggests she was key to his original idea. Degas returned to this figure repeatedly and was drawn to the image of a modern woman quietly observing. This drawing also refers to the painting for which it was the study La Lorgneuse, circa 1869.

This interest reflects his broader focus on looking, especially in theatres and cafés. Inspired by the Paris Opéra, his scenes often explore the dynamic of seeing and being seen, with opera glasses as a central symbol.

This work is on view at our stand at the Salon du Dessin. We look forward to welcoming you.

🔗 Plan your visit: www.salondudessin.com
📍Palais Brongniart, Place de la Bourse, 75002 Paris

Edgar Degas, 'Femme à la lorgnette'.
Edgar Degas, La Lorgneuse, c.1969. Glasgow Museum.

28/03/2026

A corner of our stand dedicated to the works of Vlaminck, Marini, Léger and Buffet.

📍 - Stand 23
Palais Brongniart, Place de la Bourse, 75002 Paris
📅 25–30 March 2026

Maurice de Vlaminck, 'Maison Gervais', circa 1928-1932
Marino Marini, 'Uomo e cavallo', 1951
Fernand Léger, 'Le jongleur et les trapézistes', 1954
Bernard Buffet, 'Nature morte au damier', 1958

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66 St James's Street
London
SW1A1NE

Opening Hours

Monday	10am - 6pm
Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	10am - 5pm

Telephone

+442076296662

Website

http://www.pissarro.art/

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