Wildenstein & Co., London (acquired from the above in 1936)
Lady Kroyer Kielberg (acquired from the above in 1944 and sold: Sotheby's, London, December 3, 1975, lot 12)
Piccadilly Gallery, London (acquired at the above sale)
Private Collection (acquired from the above in 1975 and sold: Sotheby's, New York, November 3, 2008, lot 56)
Acquired at the above sale
Emmanuel Fouguerat, "Sisley," Médecines et Peintures, illustrated p. 9
François Daulte, Alfred Sisley, catalogue raisonné de l'oeuvre peint, Lausanne, 1959, no. 671, illustrated in a prior state
Sisley cherished the beauty and calm of Moret, which provided an important source of inspiration. Richard Shone discussed the appeal of this location and the artist's affinity for painting it: "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 interweaving of foliage and house-fronts between sky and water" (R. Shone, Sisley, London, 1992, p. 159).
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