How Much Is Flood at Port-Marly Worth?

Flood at Port‑Marly is a cornerstone motif in Sisley’s oeuvre. The 1876 series, painted from life during severe Seine flooding, has multiple variants in major museums (Orsay, Fitzwilliam, Rouen), ensuring exceptional recognition and scholarly coverage. This art‑historical prominence supports a consistent premium versus routine river landscapes. The Carmen Thyssen example (Daulte 236) belongs to that core cluster, conferring both prestige and demand depth among collectors who prioritize canonical subjects with institutional validation. Buyers value how the series encapsulates Sisley’s handling of atmosphere, reflective water, and urban‑riverine rhythm—hallmarks of his best 1870s work. In short, the subject’s embeddedness in the literature and museums meaningfully elevates market positioning.

The painting’s prime 1876 date coincides with Sisley’s most sought‑after decade. Its c. 50 × 61.7 cm format is one of the artist’s most liquid commercial sizes, closely paralleling formats of his strongest auction performers, including the record 1874 snow scene. Assuming a clean condition profile (stable paint film, light and reversible retouching, no problematic linings, clear varnish), the work benefits proportionally in value. Collectors in this segment often look for immediate visual impact at mid‑wall scale, and this canvas fits that brief. The combination of period, handling, and format places it in competition for the upper‑tier bidding cohort in an evening sale.

Long‑term ownership in the Carmen Thyssen‑Bornemisza Collection with sustained display at the Museo Nacional Thyssen‑Bornemisza adds gravitas and market confidence. Museum exposure and citation in the Sisley literature (Daulte 236) are important positives, as is an early 20th‑century appearance in the Jules Strauss sale. While the last public sale price (1974) is not readily accessible, the painting’s ‘freshness to market’ for over five decades is attractive to bidders. Published provenance and exhibition history reduce perceived risk and typically improve pre‑sale interest and estimate credibility. Together, these factors support placement toward the higher band of the Sisley market for comparable sizes and dates.

Recent auction evidence shows wide dispersion: mid‑quality 1870s Port‑Marly views have sold in the low six figures in day sales, while top 1870s river or bridge motifs can bring $1–3 million, and the artist’s record remains c.$9.06 million for a prime 1874 work. Against that backdrop, a fully realized 1876 Flood at Port‑Marly with museum‑peer status justifies a premium well above day‑sale Port‑Marly lots and toward the upper single‑digit millions in a marquee evening sale. Liquidity is strongest when subject, date, and condition align—precisely the attributes present here. This factor directly underpins the $6–10 million estimate range.