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ALFRED SISLEY (1839-1899)

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<div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div> <div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div> <br> <br><div> </div> <br> <br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div> <br> <br><div> </div> <br> <br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div>
Cavalier en lisière de forêt187519 1/4 x 25 3/4 in.(48.9 x 63.5 x 1.91 cm) oil on canvas
Provenance
Dubourg, Paris
Hôtel Drouot, Paris, November 24, 1903, no. 27
Jacques Balsan, Paris
Private Collection, France, 1950s
Private Collection, by descent from above
Private Collection, Florida
Literature
Sylvie Brame & François Lorenceau, Alfred Sisley - Catalogue raisonné des peintures et des pastels, Paris, 2021, no. 196, pg. 104
 Price1,900,000
Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol.


 


Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy.


 


This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation.
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