The former Avenue is now called Lawrie Park Avenue in the village of Sydenham north of London.

The following pigment analysis is based on the technical examination of the painting at the National Gallery London (1).

1 Blue sky: artificial ultramarine mixed with lead white and zinc white

2 Grass on the right side: viridian, emerald green, chrome yellow, zinc white, and lead white with small amounts of artificial ultramarine, vermilion, ochres, and ivory black

3 Road and footpaths and groups of light brown coloured trees: lead white, zinc white, vermilion, orange-red ochre with small amounts of artificial ultramarine, ivory black, chrome yellow and in certain areas green pigment

4 Red-brown shutters of the house on the left: vermilion, orange-red ochre, lead white, zinc white and traces of artificial ultramarine

5 Dark gray fence on the left: artificial ultramarine, lead white, zinc white, orange-red ochre with a very small quantity of a black pigment

6 Darker brown of the trees: artificial ultramarine, lead white, zinc white, orange-red ochre with a very small quantity of black pigment. The same pigment mixture as for the fence in No 5 above but with less ultramarine and more vermilion and ochre.

References

(1) Bomford D, Kirby J, Leighton, J., Roy A. Art in the Making: Impressionism. National Gallery Publications, London, 1990, pp. 136-141.

(1) Bomford D, Kirby J, Leighton, J., Roy A. Art in the Making: Impressionism. National Gallery Publications, London, 1990, pp. 176-181.

(2) Gloria Groom, David and Mary Winton Green, Ed., Pissarro Paintings and Works on Paper at the Art Institute of Chicago, Web publication.

Gloria Groom, David and Mary Winton Green, Ed., Pissarro Paintings and Works on Paper at the Art Institute of Chicago