Lot 14
  • 14

ALFRED SISLEY | Confluent de la Seine et du Loing

1,800,000 - 2,500,000 USD
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  • Attributed to Alfred Sisley
  • 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.


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


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


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


In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.

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).

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.