阿爾弗雷德．希斯里

杜杭-胡埃畫廊，巴黎(於1881年9月12日直接向畫家購得)
賣出：巴黎，1884年4月5日，拍品編號42
H• 維威爾，巴黎，很可能於1893年購得，之後賣出：小喬治畫廊，巴黎，1897年2月1-2日，拍品编號109
M•貝韓購自上述拍賣會
賣出：德福奧拍賣會，巴黎，1923年3月25日，拍品編號67
博蒙特，巴黎
羅森堡與史迪貝爾畫廊，紐約
愛德蒙•杜魯蒙德•李貝，美國俄亥俄州
托萊多美術館，俄亥俄州（於1952年購自上述人士，之後賣出：紐約蘇富比，2006年11月7日，拍品編號4）  
現有藏家購自上述拍賣

「阿爾弗雷德•希斯里畫展」，紐約，保羅•羅森堡公司[借展]，1961年，品號14，圖錄附圖版
「阿爾弗雷德•希斯里，1839-1889」，紐約，維登斯坦畫廊，1966年，品號46，圖錄附圖版
「印象派的危機，1878-1882」，密西根州安娜堡，密西根大學美術館，1979年，品號51，圖錄附圖版
「竇加與其友人」，田納西州孟菲斯，狄克遜畫廊和庭院，1986年，品號40，圖錄附圖版

B•比伯，〈阿爾弗雷德•希斯里之作品〉，《畫室（The Studio）》月刊，倫敦，1899年12月號，圖版頁154
古斯塔夫•杰弗洛伊，《希斯里》，巴黎，1923年，圖版頁20
古斯塔夫•杰弗洛伊，《希斯里》，巴黎，1927年，圖版頁52
佛蘭斯瓦•道特，《阿爾弗雷德•希斯里畫作專題目錄》，1959年，品號397，圖錄附圖版（尺寸為54x73公分）
《托萊多美術館之歐洲繪畫》，托萊多，美國俄亥俄州，1976年，圖版頁252

Excellent condition. Canvas is lined. Under UV light, no inpainting is visible, there is a thick layer of varnish on the surface.
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.

Quintessentially Impressionist, Un Noyer dans la prairie de Thomery is a brilliant example of Sisley's landscape painting. Sisley depicts here the township of Thomery along the Seine, a particularly lush area stretching between the Fontainebleau forest and the river. Sisley spent three years painting these environs in the early 1880s, and his fascination with the place perhaps can be summarized by a contemporary nature enthusiast who described the area in the following terms: "The Seine is superb... broad unmoving expanses of water stretch out between high wooded slopes, the branches coming right down to the river" (quoted in R. Shone, Sisley, New York, 1992, p. 129). The large walnut tree at the center of the composition allows Sisley to display the virtuosic interplay of light and shadow that distinguishes Impressionist masterworks.

Richard Shone writes of Sisley's endless fascination with the banks of the Seine, and how the seasonal variations of the area presented him with opportunities to broaden his aesthetic: "Sisley worked in all seasons and weathers along this beautiful and still unspoilt bank of the Seine.  Its topography gave him new configurations of space in which far horizons combined with plunging views below; the horizontals of the skyline, riverbank and receding path are overlaid by emphatic verticals and diagonals to produce densely structured surfaces.  This becomes particularly evident in his landscapes painting in winter and early spring, before summer foliage obscured these far-reaching lines of vision.  It is then, too, that Sisley's skies assume greater variety and grandeur" (R. Shone, Sisley, New York, 1992, p. 135).