3224
ALFRED SISLEY
1/2
Description
ALFRED SISLEY
(Paris 1839–1899 Moret-sur-Loing)
Tournant du Loing à Moret. 1896.
Oil on canvas.
Signed and dated lower left: Sisley 96.
60 × 73 cm.
We would like to thank the Comité Alfred Sisley for confiming the authenticity of the work, Paris, 29 March 2021. It will be included in the catalogue critique des peintures et pastels currently in preparation. Provenance: - M. Propper. - Galerie Daniel Malingue, Paris, 1972. - Auction Koller, Zurich, 28 May 1976, lot 5179. - Swiss private collection, acquired at the above auction and by descent to the present owners. Exhibited: - Paris 1904, Sisley, Galerie Rosenberg, 7–24 November 1904, no. 36 (label on the reverse). - Paris 1939, Sisley, Galerie Paul Rosenberg, 9 May–10 June 1939, no. 37. In 1889 Alfred Sisley settled permanently in Moret-sur-Loing. Located on the banks of the Loing and the Canal du Loing, the town provided an ideal starting point for his painting expeditions. Employing an almost systematic approach, Sisley captured the diverse corners of his surroundings, producing vedutas of the city with its bridge and Notre Dame church and views of the local river landscapes. In the present painting, the artist focused once again on the banks of the Loing river, which flows into the Seine at Saint-Mammès and which he had already depicted several times from the 1880s onwards. Richard Shone explains the reason for Sisley's fascination with the town of Moret and the surrounding area as follows: "The fame of Moret rested not so much on what was found inside the town but on the view it presented from across the Loing. Old flour and tanning mills clustered along the bridge; the river, scattered with tiny islands, seemed more like a moat protecting the houses and terraced gardens that, on either side the sturdy Porte de Bourgogne, in turn defended the pinnacled tower of the church. Add to this the tree-lined walks along the river, the continuous sound of water from the weir and the great wheels of the mills, the houseboats and fishermen, and there was, as every guidebook exclaimed, 'a captivating picture', a sight 'worthy of the brush.' These supremely picturesque aspects of Moret left Sisley unabashed. Gathered in one spot were the motifs that had mesmerized him since he began to paint. Here were water, sky, reflections, a busy riverside; the multi-arched bridge was for the artist the last in a long line of such structures going back through Sèvres and St-Cloud and Hampton Court to Argenteuil and Villeneuve-la-Garenne. Here was that conjunction of man-made and natural, the interleaving of foliage and house fronts between sky and water" (Richard Shone, Sisley, London, 1992, p. 159). Our painting is also exemplary of Alfred Sisley's oeuvre in the 1890s, as it clearly shows his turn towards a rich tonal palette and full, saturated shades of green. The loose brushwork that Sisley brought to the canvas ‘en plein air’ bears witness to a mature artist capturing the moment in his favourite place with passion and virtuosity. “It is in Moret, amid this dense nature, with it's tall poplars and the beautiful, transparent, changing waters of the Loing…that my art has undoubtedly developed most; especially in the last three years…I will never really leave this little place that is so pictoresque” (Alfred Sisley in a letter to Adolphe Tavernier, 19 January 1892, in: exhib. cat. Alfred Sisley: Impressionist Master, Paris 2017, p. 164).
(Paris 1839–1899 Moret-sur-Loing)
Tournant du Loing à Moret. 1896.
Oil on canvas.
Signed and dated lower left: Sisley 96.
60 × 73 cm.
We would like to thank the Comité Alfred Sisley for confiming the authenticity of the work, Paris, 29 March 2021. It will be included in the catalogue critique des peintures et pastels currently in preparation. Provenance: - M. Propper. - Galerie Daniel Malingue, Paris, 1972. - Auction Koller, Zurich, 28 May 1976, lot 5179. - Swiss private collection, acquired at the above auction and by descent to the present owners. Exhibited: - Paris 1904, Sisley, Galerie Rosenberg, 7–24 November 1904, no. 36 (label on the reverse). - Paris 1939, Sisley, Galerie Paul Rosenberg, 9 May–10 June 1939, no. 37. In 1889 Alfred Sisley settled permanently in Moret-sur-Loing. Located on the banks of the Loing and the Canal du Loing, the town provided an ideal starting point for his painting expeditions. Employing an almost systematic approach, Sisley captured the diverse corners of his surroundings, producing vedutas of the city with its bridge and Notre Dame church and views of the local river landscapes. In the present painting, the artist focused once again on the banks of the Loing river, which flows into the Seine at Saint-Mammès and which he had already depicted several times from the 1880s onwards. Richard Shone explains the reason for Sisley's fascination with the town of Moret and the surrounding area as follows: "The fame of Moret rested not so much on what was found inside the town but on the view it presented from across the Loing. Old flour and tanning mills clustered along the bridge; the river, scattered with tiny islands, seemed more like a moat protecting the houses and terraced gardens that, on either side the sturdy Porte de Bourgogne, in turn defended the pinnacled tower of the church. Add to this the tree-lined walks along the river, the continuous sound of water from the weir and the great wheels of the mills, the houseboats and fishermen, and there was, as every guidebook exclaimed, 'a captivating picture', a sight 'worthy of the brush.' These supremely picturesque aspects of Moret left Sisley unabashed. Gathered in one spot were the motifs that had mesmerized him since he began to paint. Here were water, sky, reflections, a busy riverside; the multi-arched bridge was for the artist the last in a long line of such structures going back through Sèvres and St-Cloud and Hampton Court to Argenteuil and Villeneuve-la-Garenne. Here was that conjunction of man-made and natural, the interleaving of foliage and house fronts between sky and water" (Richard Shone, Sisley, London, 1992, p. 159). Our painting is also exemplary of Alfred Sisley's oeuvre in the 1890s, as it clearly shows his turn towards a rich tonal palette and full, saturated shades of green. The loose brushwork that Sisley brought to the canvas ‘en plein air’ bears witness to a mature artist capturing the moment in his favourite place with passion and virtuosity. “It is in Moret, amid this dense nature, with it's tall poplars and the beautiful, transparent, changing waters of the Loing…that my art has undoubtedly developed most; especially in the last three years…I will never really leave this little place that is so pictoresque” (Alfred Sisley in a letter to Adolphe Tavernier, 19 January 1892, in: exhib. cat. Alfred Sisley: Impressionist Master, Paris 2017, p. 164).
ALFRED SISLEY
(Paris 1839–1899 Moret-sur-Loing)
Tournant du Loing à Moret. 1896.
Öl auf Leinwand.
Unten links signiert und datiert: Sisley 96.
60 × 73 cm.
Wir danken dem Comité Alfred Sisley für die Bestätigung der Authentizität des Werks, Paris, 29. März 2021. Es wird in den sich in Vorbereitung befindenden Catalogue critique des peintures et pastels aufgenommen. Provenienz: - M. Propper. - Galerie Daniel Malingue, Paris, 1972. - Auktion Koller, Zürich, 28. Mai 1976, Los 5179. - Schweizer Privatsammlung, an obiger Auktion erworben und durch Erbschaft an die heutigen Besitzer. Ausstellungen: - Paris 1904, Sisley, Galerie Rosenberg, 7.–24. November 1904, Nr. 36 (verso mit Etikett). - Paris 1939, Sisley, Galerie Paul Rosenberg, 9. Mai–10. Juni 1939, Nr. 37. 1889 lässt sich Alfred Sisley endgültig in Moret-sur-Loing nieder. Am Ufer der Loing gelegen, ist das Städtchen ein idealer Ausgangspunkt für seine malerischen Expeditionen. Mit einem beinahe systematischen Vorgehen fängt Sisley die verschiedenen Winkel der Umgebung ein. Es entstehen Veduten wie die der Stadt mit ihrer Brücke, und der Kirche Notre-Dame und Ansichten der umliegenden Flusslandschaften. Auf die Ufer des Flüsschens Loing, das bei Saint-Mammès in die Seine mündet und die er ab den 1880er-Jahren bereits mehrfach dargestellt hat, konzentriert er sich nun erneut. Der Grund für die Faszination, die Sisley für das Städtchen Moret und die nähere Umgebung hegt, erörtert Richard Shone folgendermassen: "Der Ruhm von Moret beruhte nicht so sehr auf dem, was im Inneren der Stadt zu finden war, sondern auf dem Blick, den sie von der anderen Seite des Loing bot. Alte Mehl- und Gerbermühlen reihten sich entlang der Brücke aneinander; der Fluss, der mit winzigen Inseln übersät war, wirkte eher wie ein Wassergraben, der die Häuser und terrassenförmig angelegten Gärten schützte, die zu beiden Seiten der robusten Porte de Bourgogne lagen, die ihrerseits den mit Fialen versehenen Turm der Kirche verteidigte. Dazu kamen die von Bäumen gesäumten Spazierwege entlang des Flusses, das ständige Rauschen des Wassers vom Wehr und den grossen Rädern der Mühlen, die Hausboote und Fischer, und es ergab sich, wie jeder Reiseführer ausrief, "ein fesselndes Bild", ein Anblick, "der eines Pinsels würdig ist". Diese überaus pittoresken Aspekte von Moret liessen Sisley keine Ruhe. An einem Ort waren die Motive versammelt, die ihn seit Beginn seiner Malerei faszinierten. Hier waren Wasser, Himmel, Spiegelungen, ein belebtes Flussufer; die mehrbogige Brücke war für den Künstler die letzte in einer langen Reihe solcher Bauwerke, die über Sèvres und St. Cloud und Hampton Court bis nach Argenteuil und Villeneuve-la-Garenne zurückreicht. Hier gab es diese Verbindung von Mensch und Natur, die Verflechtung von Laub und Häuserfronten zwischen Himmel und Wasser" (Shone, 1992, S. 159). Exemplarisch für das Schaffen Alfred Sisleys in den 1890er-Jahren ist unser Gemälde "Tournant du Loing à Moret" auch deshalb, weil sich darin besonders deutlich seine Hinwendung zu einer tonigen Farbpalette und zu vollen, satten Grüntönen offenbart. Die lockeren Pinselstriche, die Sisley hier en "plein air " auf die Leinwand überträgt, zeugen von einem reifen Künstler, der leidenschaftlich und mit grosser Könnerschaft den Moment an seinem liebsten Ort festhält. "C’est à Moret, devant cette nature touffue, ses grands peupliers, cette eau de Loing si belle, si transparente, si changeante, c’est à Moret certainement que j’ai fait le plus de progrès dans mon art, surtout depuis trois ans…je ne quitterai jamais complètement ce coin si pittoresque." (Alfred Sisley in einem Brief an Adolphe Tavernier, 19. Januar 1892, in: Ausst. Kat. Alfred Sisley: Impressionist Master, Paris 2017, S. 164)
(Paris 1839–1899 Moret-sur-Loing)
Tournant du Loing à Moret. 1896.
Öl auf Leinwand.
Unten links signiert und datiert: Sisley 96.
60 × 73 cm.
Wir danken dem Comité Alfred Sisley für die Bestätigung der Authentizität des Werks, Paris, 29. März 2021. Es wird in den sich in Vorbereitung befindenden Catalogue critique des peintures et pastels aufgenommen. Provenienz: - M. Propper. - Galerie Daniel Malingue, Paris, 1972. - Auktion Koller, Zürich, 28. Mai 1976, Los 5179. - Schweizer Privatsammlung, an obiger Auktion erworben und durch Erbschaft an die heutigen Besitzer. Ausstellungen: - Paris 1904, Sisley, Galerie Rosenberg, 7.–24. November 1904, Nr. 36 (verso mit Etikett). - Paris 1939, Sisley, Galerie Paul Rosenberg, 9. Mai–10. Juni 1939, Nr. 37. 1889 lässt sich Alfred Sisley endgültig in Moret-sur-Loing nieder. Am Ufer der Loing gelegen, ist das Städtchen ein idealer Ausgangspunkt für seine malerischen Expeditionen. Mit einem beinahe systematischen Vorgehen fängt Sisley die verschiedenen Winkel der Umgebung ein. Es entstehen Veduten wie die der Stadt mit ihrer Brücke, und der Kirche Notre-Dame und Ansichten der umliegenden Flusslandschaften. Auf die Ufer des Flüsschens Loing, das bei Saint-Mammès in die Seine mündet und die er ab den 1880er-Jahren bereits mehrfach dargestellt hat, konzentriert er sich nun erneut. Der Grund für die Faszination, die Sisley für das Städtchen Moret und die nähere Umgebung hegt, erörtert Richard Shone folgendermassen: "Der Ruhm von Moret beruhte nicht so sehr auf dem, was im Inneren der Stadt zu finden war, sondern auf dem Blick, den sie von der anderen Seite des Loing bot. Alte Mehl- und Gerbermühlen reihten sich entlang der Brücke aneinander; der Fluss, der mit winzigen Inseln übersät war, wirkte eher wie ein Wassergraben, der die Häuser und terrassenförmig angelegten Gärten schützte, die zu beiden Seiten der robusten Porte de Bourgogne lagen, die ihrerseits den mit Fialen versehenen Turm der Kirche verteidigte. Dazu kamen die von Bäumen gesäumten Spazierwege entlang des Flusses, das ständige Rauschen des Wassers vom Wehr und den grossen Rädern der Mühlen, die Hausboote und Fischer, und es ergab sich, wie jeder Reiseführer ausrief, "ein fesselndes Bild", ein Anblick, "der eines Pinsels würdig ist". Diese überaus pittoresken Aspekte von Moret liessen Sisley keine Ruhe. An einem Ort waren die Motive versammelt, die ihn seit Beginn seiner Malerei faszinierten. Hier waren Wasser, Himmel, Spiegelungen, ein belebtes Flussufer; die mehrbogige Brücke war für den Künstler die letzte in einer langen Reihe solcher Bauwerke, die über Sèvres und St. Cloud und Hampton Court bis nach Argenteuil und Villeneuve-la-Garenne zurückreicht. Hier gab es diese Verbindung von Mensch und Natur, die Verflechtung von Laub und Häuserfronten zwischen Himmel und Wasser" (Shone, 1992, S. 159). Exemplarisch für das Schaffen Alfred Sisleys in den 1890er-Jahren ist unser Gemälde "Tournant du Loing à Moret" auch deshalb, weil sich darin besonders deutlich seine Hinwendung zu einer tonigen Farbpalette und zu vollen, satten Grüntönen offenbart. Die lockeren Pinselstriche, die Sisley hier en "plein air " auf die Leinwand überträgt, zeugen von einem reifen Künstler, der leidenschaftlich und mit grosser Könnerschaft den Moment an seinem liebsten Ort festhält. "C’est à Moret, devant cette nature touffue, ses grands peupliers, cette eau de Loing si belle, si transparente, si changeante, c’est à Moret certainement que j’ai fait le plus de progrès dans mon art, surtout depuis trois ans…je ne quitterai jamais complètement ce coin si pittoresque." (Alfred Sisley in einem Brief an Adolphe Tavernier, 19. Januar 1892, in: Ausst. Kat. Alfred Sisley: Impressionist Master, Paris 2017, S. 164)
Auction Details
Shipping
T&Cs & Important Info
Ask seller a question
ALFRED SISLEY
(Paris 1839–1899 Moret-sur-Loing)
Tournant du Loing à Moret. 1896.
Oil on canvas.
Signed and dated lower left: Sisley 96.
60 × 73 cm.
We would like to thank the Comité Alfred Sisley for confiming the authenticity of the work, Paris, 29 March 2021. It will be included in the catalogue critique des peintures et pastels currently in preparation. Provenance: - M. Propper. - Galerie Daniel Malingue, Paris, 1972. - Auction Koller, Zurich, 28 May 1976, lot 5179. - Swiss private collection, acquired at the above auction and by descent to the present owners. Exhibited: - Paris 1904, Sisley, Galerie Rosenberg, 7–24 November 1904, no. 36 (label on the reverse). - Paris 1939, Sisley, Galerie Paul Rosenberg, 9 May–10 June 1939, no. 37. In 1889 Alfred Sisley settled permanently in Moret-sur-Loing. Located on the banks of the Loing and the Canal du Loing, the town provided an ideal starting point for his painting expeditions. Employing an almost systematic approach, Sisley captured the diverse corners of his surroundings, producing vedutas of the city with its bridge and Notre Dame church and views of the local river landscapes. In the present painting, the artist focused once again on the banks of the Loing river, which flows into the Seine at Saint-Mammès and which he had already depicted several times from the 1880s onwards. Richard Shone explains the reason for Sisley's fascination with the town of Moret and the surrounding area as follows: "The fame of Moret rested not so much on what was found inside the town but on the view it presented from across the Loing. Old flour and tanning mills clustered along the bridge; the river, scattered with tiny islands, seemed more like a moat protecting the houses and terraced gardens that, on either side the sturdy Porte de Bourgogne, in turn defended the pinnacled tower of the church. Add to this the tree-lined walks along the river, the continuous sound of water from the weir and the great wheels of the mills, the houseboats and fishermen, and there was, as every guidebook exclaimed, 'a captivating picture', a sight 'worthy of the brush.' These supremely picturesque aspects of Moret left Sisley unabashed. Gathered in one spot were the motifs that had mesmerized him since he began to paint. Here were water, sky, reflections, a busy riverside; the multi-arched bridge was for the artist the last in a long line of such structures going back through Sèvres and St-Cloud and Hampton Court to Argenteuil and Villeneuve-la-Garenne. Here was that conjunction of man-made and natural, the interleaving of foliage and house fronts between sky and water" (Richard Shone, Sisley, London, 1992, p. 159). Our painting is also exemplary of Alfred Sisley's oeuvre in the 1890s, as it clearly shows his turn towards a rich tonal palette and full, saturated shades of green. The loose brushwork that Sisley brought to the canvas ‘en plein air’ bears witness to a mature artist capturing the moment in his favourite place with passion and virtuosity. “It is in Moret, amid this dense nature, with it's tall poplars and the beautiful, transparent, changing waters of the Loing…that my art has undoubtedly developed most; especially in the last three years…I will never really leave this little place that is so pictoresque” (Alfred Sisley in a letter to Adolphe Tavernier, 19 January 1892, in: exhib. cat. Alfred Sisley: Impressionist Master, Paris 2017, p. 164).
(Paris 1839–1899 Moret-sur-Loing)
Tournant du Loing à Moret. 1896.
Oil on canvas.
Signed and dated lower left: Sisley 96.
60 × 73 cm.
We would like to thank the Comité Alfred Sisley for confiming the authenticity of the work, Paris, 29 March 2021. It will be included in the catalogue critique des peintures et pastels currently in preparation. Provenance: - M. Propper. - Galerie Daniel Malingue, Paris, 1972. - Auction Koller, Zurich, 28 May 1976, lot 5179. - Swiss private collection, acquired at the above auction and by descent to the present owners. Exhibited: - Paris 1904, Sisley, Galerie Rosenberg, 7–24 November 1904, no. 36 (label on the reverse). - Paris 1939, Sisley, Galerie Paul Rosenberg, 9 May–10 June 1939, no. 37. In 1889 Alfred Sisley settled permanently in Moret-sur-Loing. Located on the banks of the Loing and the Canal du Loing, the town provided an ideal starting point for his painting expeditions. Employing an almost systematic approach, Sisley captured the diverse corners of his surroundings, producing vedutas of the city with its bridge and Notre Dame church and views of the local river landscapes. In the present painting, the artist focused once again on the banks of the Loing river, which flows into the Seine at Saint-Mammès and which he had already depicted several times from the 1880s onwards. Richard Shone explains the reason for Sisley's fascination with the town of Moret and the surrounding area as follows: "The fame of Moret rested not so much on what was found inside the town but on the view it presented from across the Loing. Old flour and tanning mills clustered along the bridge; the river, scattered with tiny islands, seemed more like a moat protecting the houses and terraced gardens that, on either side the sturdy Porte de Bourgogne, in turn defended the pinnacled tower of the church. Add to this the tree-lined walks along the river, the continuous sound of water from the weir and the great wheels of the mills, the houseboats and fishermen, and there was, as every guidebook exclaimed, 'a captivating picture', a sight 'worthy of the brush.' These supremely picturesque aspects of Moret left Sisley unabashed. Gathered in one spot were the motifs that had mesmerized him since he began to paint. Here were water, sky, reflections, a busy riverside; the multi-arched bridge was for the artist the last in a long line of such structures going back through Sèvres and St-Cloud and Hampton Court to Argenteuil and Villeneuve-la-Garenne. Here was that conjunction of man-made and natural, the interleaving of foliage and house fronts between sky and water" (Richard Shone, Sisley, London, 1992, p. 159). Our painting is also exemplary of Alfred Sisley's oeuvre in the 1890s, as it clearly shows his turn towards a rich tonal palette and full, saturated shades of green. The loose brushwork that Sisley brought to the canvas ‘en plein air’ bears witness to a mature artist capturing the moment in his favourite place with passion and virtuosity. “It is in Moret, amid this dense nature, with it's tall poplars and the beautiful, transparent, changing waters of the Loing…that my art has undoubtedly developed most; especially in the last three years…I will never really leave this little place that is so pictoresque” (Alfred Sisley in a letter to Adolphe Tavernier, 19 January 1892, in: exhib. cat. Alfred Sisley: Impressionist Master, Paris 2017, p. 164).
ALFRED SISLEY
(Paris 1839–1899 Moret-sur-Loing)
Tournant du Loing à Moret. 1896.
Öl auf Leinwand.
Unten links signiert und datiert: Sisley 96.
60 × 73 cm.
Wir danken dem Comité Alfred Sisley für die Bestätigung der Authentizität des Werks, Paris, 29. März 2021. Es wird in den sich in Vorbereitung befindenden Catalogue critique des peintures et pastels aufgenommen. Provenienz: - M. Propper. - Galerie Daniel Malingue, Paris, 1972. - Auktion Koller, Zürich, 28. Mai 1976, Los 5179. - Schweizer Privatsammlung, an obiger Auktion erworben und durch Erbschaft an die heutigen Besitzer. Ausstellungen: - Paris 1904, Sisley, Galerie Rosenberg, 7.–24. November 1904, Nr. 36 (verso mit Etikett). - Paris 1939, Sisley, Galerie Paul Rosenberg, 9. Mai–10. Juni 1939, Nr. 37. 1889 lässt sich Alfred Sisley endgültig in Moret-sur-Loing nieder. Am Ufer der Loing gelegen, ist das Städtchen ein idealer Ausgangspunkt für seine malerischen Expeditionen. Mit einem beinahe systematischen Vorgehen fängt Sisley die verschiedenen Winkel der Umgebung ein. Es entstehen Veduten wie die der Stadt mit ihrer Brücke, und der Kirche Notre-Dame und Ansichten der umliegenden Flusslandschaften. Auf die Ufer des Flüsschens Loing, das bei Saint-Mammès in die Seine mündet und die er ab den 1880er-Jahren bereits mehrfach dargestellt hat, konzentriert er sich nun erneut. Der Grund für die Faszination, die Sisley für das Städtchen Moret und die nähere Umgebung hegt, erörtert Richard Shone folgendermassen: "Der Ruhm von Moret beruhte nicht so sehr auf dem, was im Inneren der Stadt zu finden war, sondern auf dem Blick, den sie von der anderen Seite des Loing bot. Alte Mehl- und Gerbermühlen reihten sich entlang der Brücke aneinander; der Fluss, der mit winzigen Inseln übersät war, wirkte eher wie ein Wassergraben, der die Häuser und terrassenförmig angelegten Gärten schützte, die zu beiden Seiten der robusten Porte de Bourgogne lagen, die ihrerseits den mit Fialen versehenen Turm der Kirche verteidigte. Dazu kamen die von Bäumen gesäumten Spazierwege entlang des Flusses, das ständige Rauschen des Wassers vom Wehr und den grossen Rädern der Mühlen, die Hausboote und Fischer, und es ergab sich, wie jeder Reiseführer ausrief, "ein fesselndes Bild", ein Anblick, "der eines Pinsels würdig ist". Diese überaus pittoresken Aspekte von Moret liessen Sisley keine Ruhe. An einem Ort waren die Motive versammelt, die ihn seit Beginn seiner Malerei faszinierten. Hier waren Wasser, Himmel, Spiegelungen, ein belebtes Flussufer; die mehrbogige Brücke war für den Künstler die letzte in einer langen Reihe solcher Bauwerke, die über Sèvres und St. Cloud und Hampton Court bis nach Argenteuil und Villeneuve-la-Garenne zurückreicht. Hier gab es diese Verbindung von Mensch und Natur, die Verflechtung von Laub und Häuserfronten zwischen Himmel und Wasser" (Shone, 1992, S. 159). Exemplarisch für das Schaffen Alfred Sisleys in den 1890er-Jahren ist unser Gemälde "Tournant du Loing à Moret" auch deshalb, weil sich darin besonders deutlich seine Hinwendung zu einer tonigen Farbpalette und zu vollen, satten Grüntönen offenbart. Die lockeren Pinselstriche, die Sisley hier en "plein air " auf die Leinwand überträgt, zeugen von einem reifen Künstler, der leidenschaftlich und mit grosser Könnerschaft den Moment an seinem liebsten Ort festhält. "C’est à Moret, devant cette nature touffue, ses grands peupliers, cette eau de Loing si belle, si transparente, si changeante, c’est à Moret certainement que j’ai fait le plus de progrès dans mon art, surtout depuis trois ans…je ne quitterai jamais complètement ce coin si pittoresque." (Alfred Sisley in einem Brief an Adolphe Tavernier, 19. Januar 1892, in: Ausst. Kat. Alfred Sisley: Impressionist Master, Paris 2017, S. 164)
(Paris 1839–1899 Moret-sur-Loing)
Tournant du Loing à Moret. 1896.
Öl auf Leinwand.
Unten links signiert und datiert: Sisley 96.
60 × 73 cm.
Wir danken dem Comité Alfred Sisley für die Bestätigung der Authentizität des Werks, Paris, 29. März 2021. Es wird in den sich in Vorbereitung befindenden Catalogue critique des peintures et pastels aufgenommen. Provenienz: - M. Propper. - Galerie Daniel Malingue, Paris, 1972. - Auktion Koller, Zürich, 28. Mai 1976, Los 5179. - Schweizer Privatsammlung, an obiger Auktion erworben und durch Erbschaft an die heutigen Besitzer. Ausstellungen: - Paris 1904, Sisley, Galerie Rosenberg, 7.–24. November 1904, Nr. 36 (verso mit Etikett). - Paris 1939, Sisley, Galerie Paul Rosenberg, 9. Mai–10. Juni 1939, Nr. 37. 1889 lässt sich Alfred Sisley endgültig in Moret-sur-Loing nieder. Am Ufer der Loing gelegen, ist das Städtchen ein idealer Ausgangspunkt für seine malerischen Expeditionen. Mit einem beinahe systematischen Vorgehen fängt Sisley die verschiedenen Winkel der Umgebung ein. Es entstehen Veduten wie die der Stadt mit ihrer Brücke, und der Kirche Notre-Dame und Ansichten der umliegenden Flusslandschaften. Auf die Ufer des Flüsschens Loing, das bei Saint-Mammès in die Seine mündet und die er ab den 1880er-Jahren bereits mehrfach dargestellt hat, konzentriert er sich nun erneut. Der Grund für die Faszination, die Sisley für das Städtchen Moret und die nähere Umgebung hegt, erörtert Richard Shone folgendermassen: "Der Ruhm von Moret beruhte nicht so sehr auf dem, was im Inneren der Stadt zu finden war, sondern auf dem Blick, den sie von der anderen Seite des Loing bot. Alte Mehl- und Gerbermühlen reihten sich entlang der Brücke aneinander; der Fluss, der mit winzigen Inseln übersät war, wirkte eher wie ein Wassergraben, der die Häuser und terrassenförmig angelegten Gärten schützte, die zu beiden Seiten der robusten Porte de Bourgogne lagen, die ihrerseits den mit Fialen versehenen Turm der Kirche verteidigte. Dazu kamen die von Bäumen gesäumten Spazierwege entlang des Flusses, das ständige Rauschen des Wassers vom Wehr und den grossen Rädern der Mühlen, die Hausboote und Fischer, und es ergab sich, wie jeder Reiseführer ausrief, "ein fesselndes Bild", ein Anblick, "der eines Pinsels würdig ist". Diese überaus pittoresken Aspekte von Moret liessen Sisley keine Ruhe. An einem Ort waren die Motive versammelt, die ihn seit Beginn seiner Malerei faszinierten. Hier waren Wasser, Himmel, Spiegelungen, ein belebtes Flussufer; die mehrbogige Brücke war für den Künstler die letzte in einer langen Reihe solcher Bauwerke, die über Sèvres und St. Cloud und Hampton Court bis nach Argenteuil und Villeneuve-la-Garenne zurückreicht. Hier gab es diese Verbindung von Mensch und Natur, die Verflechtung von Laub und Häuserfronten zwischen Himmel und Wasser" (Shone, 1992, S. 159). Exemplarisch für das Schaffen Alfred Sisleys in den 1890er-Jahren ist unser Gemälde "Tournant du Loing à Moret" auch deshalb, weil sich darin besonders deutlich seine Hinwendung zu einer tonigen Farbpalette und zu vollen, satten Grüntönen offenbart. Die lockeren Pinselstriche, die Sisley hier en "plein air " auf die Leinwand überträgt, zeugen von einem reifen Künstler, der leidenschaftlich und mit grosser Könnerschaft den Moment an seinem liebsten Ort festhält. "C’est à Moret, devant cette nature touffue, ses grands peupliers, cette eau de Loing si belle, si transparente, si changeante, c’est à Moret certainement que j’ai fait le plus de progrès dans mon art, surtout depuis trois ans…je ne quitterai jamais complètement ce coin si pittoresque." (Alfred Sisley in einem Brief an Adolphe Tavernier, 19. Januar 1892, in: Ausst. Kat. Alfred Sisley: Impressionist Master, Paris 2017, S. 164)
Impressionist & Modern Art (A197)
Sale Date(s)
Please read clause 8 in our auction conditions (in all catalogues or on www.kollerauctions.com) regarding the collection of items.
Important Information
- 25.00 % buyer's premium on the hammer price
- 22.00 % buyer's premium on the amount of the hammer price exceeding 10,000
- 15.00 % buyer's premium on the amount of the hammer price exceeding 400,000
7.7.00 % VAT on buyer's premium
Different tax regulations may apply, if the object is exported to a none-E.U. member country
Terms & Conditions
CONDITIONS KOLLER ZURICH
By participating in the auction the bidder accepts the following Auction Conditions of Koller Auctions Ltd ("Koller").
1. Legal status of the parties
The auction items are auctioned by Koller in the name and on the account of the seller (the "Seller"). The bid in Swiss francs is accepted from the highest bidder (the "Purchaser") recognised by Koller in the course of the auction resulting in the conclusion of a purchase contract between the Seller and the Purchaser.
2. Surcharge
2.1 In addition to the bid price, the Purchaser must pay a surcharge on such bid price calculated as follows:
(i) on a successful bid of up to CHF 10 000: 25 %
(ii) on a successful bid over CHF 10 000 up to CHF 400 000:
25 % on the first CHF 10 000 and 20 % on the difference between CHF 10 000 and the bid.
(iii) on a successful bid over CHF 400 000:
25 % on the first CHF 10 000, 20 % on CHF 390 000 and 15 % on the difference between CHF 400 000 and the bid.
2.2 If the winning bid is placed in the course of an internet live online auction ("Online Auction"), the surcharges are subject to the conditions published on the respective Internet sites.
2.3 The Purchaser must pay Swiss value added tax ("VAT") on the surcharge. The stated percentage of the surcharge relates to the successful bid for each individual item.
2.4 The full tax is charged on all items marked * in the auction catalogue, i.e. VAT is charged on the sum of the bid price plus the surcharge for those items. The VAT will be refunded to Purchasers providing a validly stamped export declaration.
2.5 The Purchaser agrees that Koller also receives a commission from the Seller.
3. Disclaimer
3.1 The items are auctioned in the condition existing at the time of the successful bid.
3.2 The items are described to the best of our knowledge and belief. However, Koller cannot accept any liability for the details provided in the catalogue. The items can be inspected during the preview. The Purchaser is therefore invited to inspect an item prior to the auction and, possibly with the support of an independent specialist advisor, to form its own opinion of the correspondence between the lot and the catalogue description. For the specifications of the items the print edition of the catalogue in the German language (including any later amendments) shall be exclusively applicable. Koller reserves the right to call in experts or specialists of its choice to give an opinion and to rely upon that opinion. Koller cannot be held liable for the correctness of such opinions. Neither any such expert opinions or reports, nor the descriptions of items provided by Koller or other statements pertaining to an item (including statements pertaining to the value thereof) constitute explicit or implicit warranties.
3.3 Subject to Clause 4 below, no guarantee or warranty whatsoever is given in respect of legal and material defects. The liabilities of the Seller vis-à-vis the Purchaser are limited to the same extent as the liabilities of Koller vis-à-vis the Purchaser.
4. Guarantee for forged items
4.1 Koller shall reverse the purchase (subject to Clauses 4.2 and 4.3 below) and shall reimburse the purchase price and the surcharge (incl. VAT) to the Purchaser if the item proves to be a forgery. A “forgery” shall be deemed to exist if the item in the reasonable opinion of Koller is an imitation created with the intention of causing a deception with respect to the originator, age, period, culture or source, where the correct description of such content is not reflected in the auction catalogue (taking account of any additions), and where this circumstance significantly impairs the value of the item in comparison to an item corresponding to the catalogue description. A lot shall not be deemed to have been forged if it is merely damaged and/or has been subjected to restoration work and/or modifications of any nature whatsoever.
4.2 The guarantee given to the Purchaser in accordance with the above provision shall not be applicable at the discretion of Koller if:
(i) the description of the item in the auction catalogue was supported by the view of a specialist or by the prevailing view of specialists, or if the description in the auction catalogue suggested that differences of opinion exist in this respect;
(ii) the forgery was not identifiable as such at the time of the successful bid in accordance with the current state of research and with the generally acknowledged and usual methods, or only with disproportionate effort;
(iii) the forgery (in Koller’s careful view) was produced before 1880; or
(iv) the purchase item is a painting, watercolour, a drawing or sculpture which according to the details set out in the auction catalogue should have been created prior to 1880.
4.3 This guarantee is applicable from the day of the successful bid for a period of two (2) years (three (3) weeks for jewellery). It shall be granted exclusively to the Purchaser and may not be assigned to any third party. Assertion of the guarantee claim shall be conditional upon the Purchaser making a complaint to Koller by registered letter immediately after the discovery of the defect, and returning the purchase item to Koller in the same condition as it was handed over to him and unencumbered by third parties' claims. The Purchaser must provide proof that the item is a forgery. Koller may demand that the Purchaser obtains at his own expense expert opinions from two independent individuals who are recognised experts in the field. However, Koller shall not be bound by any such expert opinion, and reserves the right to obtain additional expert advice at its own expense.
4.4 Koller may at its complete discretion waive the assertion of grounds for exclusion pursuant to the above Clause 4.2 or the fulfilment of preconditions pursuant to the above Clause 4.3.
4.5 The claims of the Purchaser against Koller under Clause 4.1 are limited to the reimbursement of the purchase price and surcharge (incl. VAT) paid by the Purchaser. Further or other claims of the Purchaser against Koller or its employees are excluded under any legal title whatsoever.
5. Participation in the auction
5.1 Any party may participate in an auction as a Purchaser. However, Koller reserves the right at its complete discretion to prevent any person entering its premises or attending or participating in its auctions.
5.2 Purchasers who are not personally known to Koller must register at least 48 hours before the auction, using the form provided for this purpose. A copy of the passport of the Purchaser must be enclosed with registration, signed with legal effect. In the event of every payment default of the Purchaser, Koller shall be entitled to charge the credit card of the Purchaser in accordance with the details provided on the registration form up to the level of the owed sum plus the expenses of the card provider.
5.3 If a Purchaser who is unknown to Koller is planning to bid for items with upper estimated values of more than CHF 15 000, he shall be required to present to Koller in advance a certificate of creditworthiness issued by a bank approved by Koller.
5.4 In the case of bids for items with upper estimated values of more than CHF 30 000, Koller may demand that the Purchaser first remits 20 % of the lower estimated value as security. Following the auction, Koller will offset this sum against its claims and the claims of the Seller, and will reimburse any possible surpluses to the Purchaser without delay.
6. Auction
6.1 Koller may initiate the auctioning of an item below the minimum selling price agreed upon with the Seller. A bid placed at an auction is a binding offer. The bidder shall remain bound by his bid until this is either outbid or rejected by Koller. Double bids shall immediately be called once again; in case of doubt, the auction management shall decide.
6.2 Koller may refuse a bid either without giving reasons or if a Purchaser fails to fulfil the conditions for participation in an auction pursuant to the above Clauses 5.2 to 5.4. Koller may also knock down or withdraw auctioned items without a sale even if this is not apparent to the auction participants.
6.3 Koller reserves the right to combine, separate or omit numbered lots in the catalogue or to offer them out of sequence. Koller reserves the right to sell lots “conditionally” at its sole discretion, in which event the hammer price will be considered as conditional and the highest bidder will remain bound by his bid for 14 days following the auction. The highest bidder will be released from all obligations if he does not receive a statement from Koller within this period declaring the hammer price as final.
6.4 Written bids from potential Purchasers who cannot attend the auction in person are accepted up to 48 hours before the bidding begins.
6.5 Potential Purchasers may bid by telephone if they have given written notice at least 48 hours before the auction starts. Koller does not accept telephone bids for amounts under CHF 500 and Purchasers are requested to leave a written bid or participate in the salesroom.
6.6 Potential Purchasers who intend to place their bids in the course of an Online Auction via the internet may participate in the auction once their registration applications have been approved by Koller. Koller reserves the right to decline registration applications at its discretion.
6.7 Koller refuses all liability for any kind of bids as well as advance notifications of telephone bidding which are not taken into consideration. Telephone bidders and persons giving written instructions are also subject to the provisions of Clause 5 relating to proof of identity and financial soundness. In the case of Purchasers who place bids in the course of an Online Auction via the internet, Clause 5 only applies with regards to financial soundness.
7. Transfer of title
Ownership of an auctioned item shall be transferred to the Purchaser as soon as the purchase price and the surcharge (incl. VAT) have been comprehensively paid and Koller has attributed these payments to the corresponding item.
8. Collection of the auctioned items
8.1 The auctioned items must be collected at the Purchaser's own expense within 7 days from the end of the auction during official opening hours. If time permits, the items may be handed over after each auction session. The handover shall be performed following comprehensive payment of the purchase price as well as the surcharge (incl. VAT) and the attribution of this sum to the auctioned item by Koller. Cheques offered as payment must be confirmed by the drawee bank before the auctioned item is handed over.
8.2 During the aforementioned period Koller shall be liable for loss, theft, damage or destruction of items which have been auctioned and paid for, but only up to the total of the auction price, surcharge and VAT. Koller ceases to have liability after the aforementioned period, and the Purchaser shall be responsible for ensuring adequate insurance cover for the auctioned item. No liability can be assumed for frames and glass. If the auctioned items are not collected within 7 days, Koller will store the works at a company of their choice at the purchaser’s own risk and expense or on their own premises at a daily rate of CHF 10 per object.
8.3 Transport orders may be sent to Koller in writing. Unless otherwise agreed in writing, transport insurance shall be taken out for the sold items at the expense of the Purchaser. Glazed pictures and fragile items shall not be sent by Koller.
9. Payment for the auctioned items
9.1 The invoice for a successful bid for an auctioned item is payable within 7 days from the end of the auction. Irrespective of the Purchaser's instructions, Koller may use any payments by the Purchaser as settlement for any debt owed by the Purchaser to Koller or the Seller and set off any debt which it owes to the Purchaser against its own claims. If the Purchaser defaults on a payment, default interest of 10 % p.a. shall be charged on top of the invoiced sum.
9.2 If the Purchaser does not pay or does not pay promptly, Koller may moreover in its own name and in the Seller's name optionally (i) insist on the fulfilment of the purchase agreement or (ii) without further notice withdraw from the purchase agreement and waive the subsequent performance of the Purchaser or assert a claim for compensation for non-performance; in the latter case Koller shall also be entitled, irrespective of a possible minimum sales price, to sell the item either directly or on the occasion of an auction, and may use the proceeds to reduce the debts of the Purchaser. Any possible sales price above the original hammer price shall be paid out to the Seller. The Purchaser is liable to Koller and the Seller for all prejudice caused by non-payment or late payment.
9.3 Koller retains a right of retention and a lien on all the Purchaser's items in its custody until full payment of all monies owed. Koller may exercise such liens in accordance with the legislation on the enforcement of debts or by private sale (including in its own name). The plea of prior lien exploitation pursuant to Art. 41 of the Swiss Debt Collection and Bankruptcy Act is excluded.
10. Representation
Each Purchaser shall be personally liable for the bid placed by him. Proof of the power of representation may be requested from persons bidding as agents for a third party or as an organ of a corporate body. The agent shall be jointly and severally liable with his principal for the fulfilment of all obligations.
11. Miscellaneous provisions
11.1 The auction shall be attended by an official from the city of Zurich. The attending official, the local authority and the state have no liability for the acts of Koller.
11.2 Koller reserves the right to publish illustrations and photographs of sold items in its own publications and the media and to publicise its services therewith.
11.3 The aforementioned provisions form part of each individual purchase agreement concluded at the auction. Amendments are binding only with Koller's written agreement.
11.4 The present Auction Conditions and all amendments thereof are governed by Swiss law.
11.5 The courts of the Canton of Zurich shall be exclusively responsible for settling disputes (including the assertion of offsetting and counterclaims) which arise out of or in conjunction with these Auction Conditions (including their validity, legal effect, interpretation or fulfilment). Koller may, however, initiate legal proceedings before any other competent court.
