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אלפרד סיסלי(1839-1899)

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Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.
L'Église de Moret, le Soir189431 1/4 x 39 1/2 in. (81.28 x 100.33 ס"מ) בד שמן
מקור ומקור
אחוזת סיסלי
מכירה: ונטה דה ל'אטלייה סיסלי, גנריז' ז'ורז' פטי פריז, 1 במאי 1899, מגרש 13
ג'ורג' ויאו, פריז
מכירה: מלון דרווט פריז, 20 בפברואר 1908, מגרש 37
אוסף פירסון, פריז (נרכש במכירה הנ"ל)
מכירה: ונטה פירסון, גלריה פול קסירר ברלין, 18 באוקטובר 1927, מגרש 65
אוסף פרטי
מכירה: מלון דרו, פריז, 23 ביוני 1928, מגרש 98
אוסף אוברט, פריז (נרכש במכירה הנ"ל; אולי מרסל אוברט)
אוסף פרטי גלריית אדוארד נחם
S... עוד...teven Bedowitz, בוקה רטון, פלורידה (נרכש בשנת 1989)
אוסף פרטי, ניו יורק
לארי לקרטה, דאלאס (נרכש בשנת 1991)
אוסף פרטי (נרכש ב-1996)
תערוכה
טוקיו, מוזיאון איסתאן לאמנות; קגאווה, המוזיאון העירוני לאמנות של טקאמאצו; הירושימה, מוזיאון לאמנות ווקאיאמה, המוזיאון המחלקתי לאמנות מודרנית, תערוכה אלפרד סיסלי, 2000, מס '53, מאויר בצבע עמ ' 138-139
ספרות
O. רויטרסwaerd, 'הקתדרלות של סיסלי, מחקר של הכנסייה במורט' ב גאזט דה בומנויות, מרץ 1952, תמונה 1, מאויר עמ ' 194
פ. דולטה, אלפרד סיסלי. קטלוג raisonné de l'œuvre peint, לוזאן, 1959, מס '835, מאויר בשחור לבן
פ. דולטה, סיסלי. Les Saisons, פריז, 1992, מס ' 41, מאויר בצבע עמ ' 73
ר. שון, סיסלי, ניו יורק, 1992, pl. 134, מאויר בצבע עמ ' 170 (מוזכר עמ ' 164-165)
Brame, S., Sisley, A., Lorenceau, F., & Daulte, O. (2021). Alfred Sisley: Catalog critique des peintures et des pastels. עמ' 347 חולה. 347, 501
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לברר

"אני תמיד מתחיל ציור עם השמים." – אלפרד סיסלי

היסטוריה

בין איל-דה-פראנס לבורגונדי ובקצה יער פונטנבלו שוכן הכפר מימי הביניים מורט-סור-לוינג (Moret-sur-Loing), שהוקם במאה ה-12. כאשר אלפרד סיסלי תיאר את דמותו למונה במכתב מתאריך 31 באוגוסט 1881 כ"נוף קופסת שוקולד..." הוא התכוון לכך כמזכרת של פיתוי; כי השמירה שלה, הסוללות, הכנסייה, השערים המבוצרים, ואת החזיתות המקושטות השוכנות לאורך הנהר היו, עבור צייר, הגדרה של קסם שאין שני לו. כנסייה עתיקה, תמיד הנוף העירוני הבולט ביותר לאורך עמק הסיין, תהיה נוכחות בנוף העיר של סיסלי כפי שהיה עבור קורוט, ועבור מונה ב Vétheuil. אך שלא כמו מונה ששלושים נופיו על קתדרלת רואן הוצאו להורג כדי שיוכל להתחקות אחר משחק האור והצל על פני חזית הקתדרלה ולתפוס את האופי הארעי של שינויים מרגע לרגע של אור ואטמוספירה, סיסלי יצא לאשר את טבעה הקבוע של כנסיית נוטרדאם במורט-סור-לוינג.  הדאגה היחידה של מונה הייתה אוויר ואור, וסיסלי נראה כמזכרת הומאז'. הציור מפגין כבוד לאדריכלים ובנאים המקוריים של מבנה כה בלתי חדיר ונחוש, שהוא עמד אז כפי שעמד אז כפי שעשה באותם ימי הביניים, ואשר עבורנו, עומד היום, כפי שהוא יהיה, לזמן בלתי נשכח.

עם זאת, סיסלי שאף להראות את המראה המשתנה של המוטיב באמצעות סדרה של שינויים אטמוספריים. הוא נתן ליצירות כותרים כמו "בשמש", "תחת כפור" ו"בגשם" והציג אותן כקבוצה בסלון דו צ'אמפ-דה-מארס ב-1894, גורמים המצביעים על כך שהוא חשב עליהן כפרשנויות סדרתיות. אף על פי כן, בניגוד לעבודתו של מונה, l'église de Moret, le Soir מגלה כי סיסלי בחר להציג את המוטיב בתוך הקשר מרחבי המדגיש את תכונותיו הקומפוזיטיביות - נקודת המבט הצוללת של הרחוב הצר משמאל, המיתון האלכסוני החזק של קווי הבניין כמאזן נגדי מימין, והמשקל המרשים של הבניין הסלעי שמעל קו הראייה.

לברר
  • Sisley39199_history1
    אלפרד סיסלי
  • Sisley39199_history2
    Jean-Baptiste-Camile Corot, "Moret sur Loing, le pont et l'eglise," 1822, Private Collection
  • SIsley39199_history3
    קלוד מונה, "קתדרלת רואן, החזית המערבית", 1894, הגלריה הלאומית לאמנות, וושינגטון, ד.C.
  • SIsley39199_history4
    אלפרד סיסלי, "לה פונט דה מורט, אפת ד'אורג'", 1887, מוזיאון מלרו, לה האבר
  • Sisley39199_history5
    גלויה של מורט סור לוינג, l'eglise Norte-Dame
  • Sisley39199_history6
    גלויה של מורט סור לוינג, לה רו דה ל'אגליזה
  • Sisley39199_history7
    אלפרד סיסלי, "הכנסייה בשמש הערב", 1894, מוזיאון דה בו-ארטס דה רואן, רואן, צרפת
  • Sisley39199_history8
    Eglise Notre Dame de Moret-sur-Loing, Seine et Marne
"כל תמונה מראה מקום שבו האמן התאהב." – אלפרד סיסלי

תובנות שוק

  • Sisley39199_insights
  • מחיר השיא לציור של סיסלי במכירה פומבית הוא מעל 9 מיליון דולר, שנקבע בשנת 2017 על ידי נוף חורפי קטן משמעותית מ- L'église de Moret, le Soir
  • קיימים רק 884 ציורי שמן של סיסלי, ורבים מהם נמצאים באוספי מוזיאונים קבועים, מה שמשאיר מעט דוגמאות מצוינות בקנה מידה גדול שיכולות להיות זמינות למכירה פרטית
  • L'église de Moret, le Soir גדול במיוחד ביחס ליצירות אחרות של סיסלי, והוא שייך לאותו אוסף פרטי מאז 1996, מה שמוסיף לערכו
  • הוא חתום בפינה הימנית התחתונה "סיסלי 94" ומתועד בקטלוג של סיסלי (פ. דאולטה, לוזאן, 1959, מס ' 835, מאויר בשחור לבן)
  • מתאר את כנסיית נוטרדאם במורט, נושא חשוב שסיסלי ביקר בו כמעט תריסר פעמים מאז שהתיישב במורט בשנת 1889
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ציורים דומים שנמכרו במכירה פומבית

שמן על בד, 21 1/4 x 25 3/8 אינץ'. נמכר בסות'ביס לונדון: 1 במרץ 2017.

"Effet de Neige à Louveciennes" (1874) נמכר ב-9,064,733 דולר.

שמן על בד, 21 1/4 x 25 3/8 אינץ'. נמכר בסות'ביס לונדון: 1 במרץ 2017.
  • ציור קטן יותר עם לוח צבעים מושתק, אך צללים יפים
  • סצנת חורף נדירה
  • קבע את מחיר השיא של סיסלי במכירה פומבית ב-2017
שמן על בד, 20 1/8 x 25 3/4 אינץ'. נמכר בסות'ביס ניו יורק: 4 בנובמבר 2014.

"Le loing à Moret" (1883) נמכר ב-4,869,000 דולר.

שמן על בד, 20 1/8 x 25 3/4 אינץ'. נמכר בסות'ביס ניו יורק: 4 בנובמבר 2014.
  • קטן משמעותית מהיצירה שלנו
  • פחות סיים ללא מספרים
  • פלטת צבעים ואור יפה
שמן על בד, 25 5/8 x 36 1/8 אינץ'. נמכר בסות'ביס לונדון: 5 בפברואר 2008.

"מורט-סור-לוינג" (1891) תמורת 4,685,031 דולר.

שמן על בד, 25 5/8 x 36 1/8 אינץ'. נמכר בסות'ביס לונדון: 5 בפברואר 2008.
  • ציורים גדולים של סיסלי כמו זה ושלנו נדירים ובעלי ערך רב יותר
  • נמכר לפני שמונה שנים ביותר מ-4.6 מיליון דולר, והשוק גדל
שמן על בד, 28 7/8 x 36 5/8 אינץ'. נמכר בסות'ביס לונדון: 5 בפברואר 2007.

"Le loing à Moret, en été" (1891) נמכר ב-5,746,135 דולר.

שמן על בד, 28 7/8 x 36 5/8 אינץ'. נמכר בסות'ביס לונדון: 5 בפברואר 2007.
  • עוד בד גדול מכמה שנים קודם לכן
  • כמו הציור שלנו, הוא כולל דמות, אשר מגדילה את הערך

ציורים באוספי מוזיאונים

"הכנסייה במורט בשמש הבוקר" (1893), שמן על בד, 26 X 32 אינץ'.

Musée des Beaux-Arts de Rouen

"הכנסייה במורט בשמש הבוקר" (1893), שמן על בד, 26 X 32 אינץ'.
"הכנסייה בשמש הבוקר" (1893), שמן על בד, 39 3/8 x 33 1/4 אינץ '.

מוזיאון קונסט, ווינטרטור, שוויץ

"הכנסייה בשמש הבוקר" (1893), שמן על בד, 39 3/8 x 33 1/4 אינץ '.
"הכנסייה במורט אחרי הגשם" (1894), שמן על בד, 28 3/4 x 23 3/4 אינץ'.

המכון לאמנויות של דטרויט

"הכנסייה במורט אחרי הגשם" (1894), שמן על בד, 28 3/4 x 23 3/4 אינץ'.
"הכנסייה במורט (ערב)" (1894), שמן על בד, 39 3/4 x 32 1/4 אינץ'.

פטיט פאלה, פריז

"הכנסייה במורט (ערב)" (1894), שמן על בד, 39 3/4 x 32 1/4 אינץ'.
"L'église de Moret-sur-Loing, temps de pluie le matin" (1894), שמן על בד, 26 x 32 אינץ '.

גלריית האמנות האנטריאן, אוניברסיטת גלזגו

"L'église de Moret-sur-Loing, temps de pluie le matin" (1894), שמן על בד, 26 x 32 אינץ '.
"אני אוהב את כל אותם ציירים שאהבו והיתה להם תחושה חזקה לטבע." – אלפרד סיסלי

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ציורי קתדרלת סיסלי ומונה

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