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WORKS FROM THE COLLECTION OF JOE R. & TERESA L. LONG

Alfred Sisley
LES BORDS DU LOING À SAINT-MAMMÈS
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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.
800,0001,200,000
LOT SOLD. 800,000 USD
JUMP TO LOT
50

WORKS FROM THE COLLECTION OF JOE R. & TERESA L. LONG

Alfred Sisley
LES BORDS DU LOING À SAINT-MAMMÈS
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.
800,0001,200,000
LOT SOLD. 800,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

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Alfred Sisley
1839 - 1899
LES BORDS DU LOING À SAINT-MAMMÈS
Signed Sisley. (lower left)
Oil on canvas
15 1/4 by 21 5/8 in.
38.7 by 55 cm
Painted in 1884.
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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 by Galerie Brame & Lorenceau for the Comité Alfred Sisley.

Provenance

Dr. Poyet, Paris

Francisco & Ernestina Llobet, Buenos Aires

Ines Llobet de Gowland, Buenos Aires (by descent from the above)

Private Collection, Switzerland (and sold: Sotheby's, London, July 1, 1970, lot 16) 

Atherton (acquired at the above sale)

Galerie Cazeau-Béraudière, Paris

Acquired from the above on December 8, 2005

Exhibited

Paris, Galerie Georges Petit, Exposition d'oeuvres de Alfred Sisley, 1917, no. 96

London, The Lefevre Gallery, XIXth and XXth Century French Paintings and Drawings, 1966, no. 12, illustrated in the catalogue 

London, Arthur Tooth & Sons, Recent Acquisitions, 1967, no. 15, illustrated in the catalogue

Literature

François Daulte, Alfred Sisley, Catalogue raisonné de l'oeuvre peint, Lausanne, 1959, no. 517, illustrated n.p.

Catalogue Note

Painted in 1884, Les Bords du Loing à Saint-Mammès depicts the landscape around Saint-Mammès, a small village situated at the confluence of the rivers Seine and Loing, just north of Moret-sur-Loing. Sisley first moved with his family to Veneux-Nadon near Moret-sur-Loing in 1880, and continued to live in that area for the rest of his life, moving several times between the two villages. The local scenery offered a constant source of inspiration to the artist, who tried to capture the relationship between land, water and sky as well as the changing effects of light on his surroundings. Having painted numerous views of the bridge, river bank and quayside of Saint-Mammès in 1880-81, Sisley focused his attention on the Loing and its canal, which joined the Seine at Saint-Mammès, and between 1882 and 1885 executed a series of works depicting this area.

For the present composition, Sisley set his easel at a quiet spot on the river bank, with only a few small figures going about their daily activities. In her discussion of this locale, Vivienne Couldrey noted: "It is an essentially Impressionist place with the gentle light of the Île-de-France, the soft colours and the constantly changing skies of northern France. There are green woods and pastures, curving tree-lined banks of rivers, canals and narrow streams, wide stretches of the river where the Loing joins the Seine at Saint-Mammès, old stone houses, churches and bridges" (V. Couldrey, Alfred Sisley, The English Impressionist, Exeter, 1992, p. 68).

The village of Saint-Mammès was ideally situated on the confluence of the two rivers, 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 to 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 toward the end of the 1870s that his brushwork became more vigorous and the palette more varied. The brushwork in the present work is wonderfully fluid, its rhythmical application of paint so typical of many of the oils dating from the late 1870s and the 1880s. Richard Shone wrote: “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).

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