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PAINTED LIGHT: WORKS FROM A DISTINGUISHED AMERICAN COLLECTION SOLD TO BENEFIT CHARITABLE CAUSES

Alfred Sisley
CONFLUENT DE LA SEINE ET DU LOING
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
1,800,0002,500,000
LOT SOLD. 2,535,000 USD
JUMP TO LOT
14

PAINTED LIGHT: WORKS FROM A DISTINGUISHED AMERICAN COLLECTION SOLD TO BENEFIT CHARITABLE CAUSES

Alfred Sisley
CONFLUENT DE LA SEINE ET DU LOING
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
1,800,0002,500,000
LOT SOLD. 2,535,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

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New York

Alfred Sisley
1839 - 1899
CONFLUENT DE LA SEINE ET DU LOING
Signed Sisley. and dated 85 (lower left)
Oil on canvas
21 1/4 by 28 3/4 in.
54 by 73 cm
Painted in 1885.
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This work will be included in the new edition of the Catalogue Raisonné of Alfred Sisley by François Daulte now being prepared at Galerie Brame & Lorenceau by the Comité Alfred Sisley.

Provenance

John Pickering Lyman, New York

Durand-Ruel Galleries, New York (acquired from the above on June 19, 1911)

H.S. Adler, New York (acquired from the above on February 14, 1920)

E.J. Van Wisselingh & Co., Amsterdam (acquired by 1949)

Margaret A. Crang, Canada (acquired from the above and sold by the estate: Christie's, New York, November 11, 1997, lot 104)

Acquired at the above sale

Exhibited

New York, Durand-Ruel Galleries, Sisley, 1917, no. 15

Literature

François Daulte, Alfred Sisley, Catalogue raisonné de l'oeuvre peint, Lausanne, 1959, no. 620, illustrated n.p. 

Catalogue Note

Sisley was enchanted by the Loing river, especially its multi-arched bridge lined with mills which he painted from a multitude of viewpoints. Juxtaposing brushstrokes of bright, variegated blue, green and red tones, Sisley captures the shifting effect of sunlight on the surfaces with shifting degrees of transparency. Always preoccupied with the impressionist fashion of recording the changing play of light on the water, here Sisley examines a bright summer day, the intense blue sky with interspersed scattered clouds and facades reflected on the surface of the river.

The village of Saint-Mammès was ideally situated on the confluence of the Seine and the river Loing, seventy kilometers upstream from Paris. As the meeting point of all the waterways crossing central France, from its earliest days the town’s fortunes were inextricably linked with the river. Thanks to its strategic location, it became one of the foremost centers of barge activity in the region, and for a long time played a significant role in the history of the inland waterways. Although Sisley never lived in the village of Saint-Mammès, he was certainly attracted to this region, and to the painterly possibilities it offered him. As the critic Gustave Geffroy wrote in 1923: “He sought to express the harmonies that prevail, in all weathers and at every time of day, between foliage, water and sky, and he succeeded… He loved river banks; the fringes of woodland; towns and villages glimpsed through the old trees; old buildings swamped in greenery; winter morning sunlight; summer afternoons” (G. Geffroy, “Sisley” in Les Cahiers d’aujourd’hui, Paris, 1923, n.p.).

Sisley, like Monet, continued to explore and develop the Impressionist style during the 1880s and 1890s. It was towards the end of the 1870s though that his brushwork became more vigorous and his palette more varied. Richard Shone wrote that “Sisley worked in all seasons and weathers along this beautiful and still unspoilt bank of the Seine. Its topography gave him new configurations of space in which far horizons combined with plunging views below; the horizontals of skyline, riverbank and receding path are overlaid by emphatic verticals and diagonals to produce densely structured surfaces. This becomes particularly evident in his landscapes painted in winter or early spring, before summer foliage obscured these far-reaching lines of vision. It is then, too, that Sisley’s skies assume a greater variety and grandeur. With more subtlety than before, he determines the exact relation of the sky to the silhouette of the land. He knows how to differentiate its planes, order its clouds, diminish or enlarge its scope to produce a harmony inseparable from the landscape below” (R. Shone, Sisley, London, 1992, p. 135).

Impressionist & Modern Art Evening Sale

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New York