Collection Online
The banks of the Viosne at Osny in grey weather, winter

The banks of the Viosne at Osny in grey weather, winter
(Bords de la Viosne à Osny, temps gris, hiver)

oil on canvas
65.3 × 54.5 cm
inscribed (diagonally) in red paint l.l.: C. Pissarro / 83
Accession Number
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Felton Bequest, 1927
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Ms Carol Grigor through Metal Manufactures Limited
Gallery location
Late 19th & early 20th Century Paintings & Decorative Arts Gallery
Level 2, NGV International

Remained in the artist's studio until his death, 1903; by descent to his daughter, Jeanne Bonin (1881-1948, née Pissarro) and husband Alexandre Bonin, 1903; with Galerie Georges Petit (dealer), by 1923; from where purchased by Knoedler Gallery (dealer), London and Paris, 14 February 1923, no. 7116 (and no. NY 15699); by which sold to Sir James Murray (1850–1933), Aberdeen, 14 July 1923[i]; his collection, Aberdeen, until 1927; included in the John Murray sale, Christie's, London, 29 April 1927, no. 80; from where purchased, on the advice of Frank Rinder, for the Felton Bequest, 1927.

[i] See M. Knoedler & Co. records, approx. 1848–1971, The Getty Research Institute, Los Angeles, Accession no. 2012.M.54, Accessed:, Series I.A Paintings 1872–1977, Painting stockbook 7 (15140-17039), January 1921– January 1927, p. 57, via, and Series 2 Sale Books 1863–1971, Sale Book 12, January 1921 – December 1926, p. 161, accessed


Pissarro retrospective, Galerie Durand-Ruel, Paris, February, 1892, no. 23; French Painters of the 19th century, Knoedler Gallery, London, 1923.

In 1882 Pissarro and his family moved to the village of Osny, northwest of Paris and within easy reach of the capital. This painting of a corner of Osny, seen through a stand of trees, was made in the period following a time of experimentation when Pissarro moved away from the characteristic Impressionist style in favour of a tougher paint surface, seen here in the density of the paint layer and the complexity of the brushstrokes.