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ALS in French, signed “C. Pissarro,” three pages on two adjoining sheets, 4.25 x 6.75, May 9, 1887. Addressed from Paris, a handwritten letter to noted French art critic and dealer Hippolyte Heymann, in full (translated): "Couldn't you, while waiting to make a sale, advance me a little money? Because I have nothing, absolutely nothing. I was forced, because of the prices of the two paintings of Durand-Ruel, to give those at G. Petit's rather high prices. — 1500 for the largest and 1200 and 300 for the little ones. See what you can do, the best you can. You may come down on the price if necessary. I presume that there will be no objection to selling elsewhere — than at G. Petit. I have succeeded in having my paintings put back approximately in their places. The smallest will be placed today. I would very much like to leave here for 2 or 3 days, could I? During my absence, would you be good enough to see that my canvasses do not disappear into the wings. I entrust you with my interests, if you really don't mind." In fine condition. Accompanied by a signed note from Lucien Pissarro acknowledging receipt of a first-class medal and diploma awarded at the 1911 Barcelona International Exhibition.
This letter captures the Impressionist master at one of the most financially precarious moments of his career. Writing to his friend and agent Hippolyte Heymann, Pissarro candidly pleads for a cash advance, confessing, “I have nothing, absolutely nothing,” while authorizing reductions in the prices of his exhibited paintings if necessary to secure a sale. His financial circumstances are echoed in a letter to his son, Lucien, written just five days later, in which he admits, “I have been wanting to write you for three days, but I lacked the three cents for postage.” Although by 1887 Pissarro was already recognized as one of the leading figures of Impressionism, his recent embrace of Neo-Impressionism had made his work more difficult to sell, while the financial struggles of his longtime dealer, Paul Durand-Ruel, further reduced the dependable income on which he had long relied. Supporting a large family, Pissarro often endured periods of genuine financial hardship despite his artistic reputation.
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