Lot 365
  • 365

Alfred Sisley

Estimate
500,000 - 700,000 USD
bidding is closed

Description

  • Alfred Sisley
  • Coucher de soleil, la route de Versailles à Chavilles
  • Signed Sisley. (lower right)
  • Oil on canvas
  • 19 7/8 by 25 7/8 in.
  • 50.5 by 65.7 cm

Provenance

Dr. Joseph Joal, Paris (acquired directly from the artist)
Louise Rebel, Paris (acquired from the above in 1902)
Bernard Lorenceau, Paris
M. Farra, Paris
Sale: Crédit Municipal de Paris, November 29, 1967
Hammer Galleries, New York (acquired at the above sale)
Mrs. Phillip D. Armour, Lake Forest, Illinois
Trosby Galleries, Inc., Palm Beach
Private Collection, Canada (acquired from the above and sold: Christie's, New York, November 4, 2004, lot 215)
Private Collection, New York (acquired at the above sale and sold: Sotheby's, New York, November 7, 2012, lot 139)
Acquired at the above sale

Exhibited

Paris, Crédit Municipal de Paris, Tableaux Modernes, 1967, no. 20

Condition

This work is in very good condition. Canvas is lined. Under UV light a few strokes of inpainting are visible at center of right and left edges to address frame abrasion, otherwise some pooling varnish at center of composition fluoresces but no inpainting is apparent.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

As the artist once stated, "Objects should be painted with their own texture, moreover—and above all—they should be bathed in light just as they are in nature. That's what has to be achieved. The sky must be the means of doing so (the sky cannot be a mere background). On the contrary, it not only helps to add depth through its planes (for the sky has planes just as the ground does), it also gives movement through its shape, and by its arrangement in relation to the effect or composition of the picture" (as quoted in Richard Shone, Sisley, London, 1992, pp. 219-20).