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Upper Norwood, London, 1871 by Camille Jacob Pissarro
Canvas Print - 10515-PIC

Location: Private Collection
Original Size: 40 × 50 cm

Upper Norwood, London by Pissarro (1871) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 23.9 × 29.9 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

Upper Norwood, London by Camille Jacob Pissarro, 1871 - canvas print
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Giclée Canvas Print | $61.98 USD

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SKU:10515-PIC
Print format
Print/Image Size
Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
23.9″ × 29.9″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 15.7 × 19.7 in print therefore arrives as 18.1 × 22 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 23.9 × 29.9 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Pissarro's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 40 × 50 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original is in a private collection. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Camille Pissarro’s “Upper Norwood, London, 1871”, it’s a whisper. This is landscape painting at its most unassuming, and yet, it somehow pulls you in like a memory you can’t quite shake. There’s a softness here, a sort of hazy, half-remembered quality that feels like it’s drifting right out of reach - but you can’t look away.

The whole thing is bathed in a low-key green wash, from the rolling hills to the trees that stand like lazy sentinels in the foreground. Pissarro doesn’t hit you over the head with the details. The brushwork is loose, almost lazy at first glance, but look closer and you’ll see it’s all part of the spell. The leaves aren’t meticulously defined; they blur and dance with the light. It’s as if the scene is caught in a perpetual late afternoon glow, where everything is soft-edged, and the air is thick with the possibility of rain that never arrives.

The houses in the distance - if you can even call them that - are barely there, poking out from the treeline as though they might disappear altogether if you blink. And yet, that’s what Pissarro’s doing, isn’t it? He’s offering a glimpse. A nudge toward modernity with those far-off rooftops and the spire of a church, but the city is kept firmly at bay. What dominates is nature - sprawling, unbothered, indifferent.

The horses grazing in the far right corner? They feel almost like an afterthought, but a deliberate one. Pissarro places them there, just to remind us of the life that goes on, quietly, steadily, while the rest of us are busy looking at the horizon. This isn’t an epic. It’s an aside, and that’s precisely where its power lies.

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