Estate of the artist (and sold: Hôtel Drouot, Paris, Vente Corot, May 29 - June 9, 1875, lot 367)
M. Dujarric (acquired from the above sale)
Lucien Faure-Dujarric (acquired by descent from the above, and sold, his sale, Hôtel Drouot, Paris, March 16-17, 1904, lot 29, as Le Couvent sur la colline)
Private collection (and sold, Hôtel Drouot, Paris, April 24, 1944, lot 6, as Le Couvent sur la colline)
Danilet, Paris (as of 1956)
Sale: Sotheby's, London, April 12, 1972, lot 2
Sale: Christie's, New York, October 12, 1993, lot 49, illustrated
Private Collection (acquired from the above sale)

Alfred Robaut, L'Oeuvre de Corot: catalogue raisonné et illustré, Paris, 1905, vol. II, no. 444, pp. 160-1, illustrated (as Campagne de Rome — fabriques au sommet d'une colline)
André and Renée Julien, "Corot dans les Castelli Romani," Gazette des Beaux-Arts, 6e pér., CX, no. 1425, October 1987, note 43, pp. 123-4, 130
Corot, exh. cat., The Metropolitan Museum of Art, New York, 1996-1997, p. 196, no. 82

Paper laid down on a stable cradled panel. Under UV: Old varnish flouresce green, older spots of inpainting in areas of the hill.
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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.

Corot painted the present work during his third and last trip to Italy in May 1843 when he headed straight to Rome and was to spend most of the following two months in the Alban Hills and at such favorite sites east of the city as Tivoli. Corot’s view is taken from the northwest flank of Lake Nemi looking toward Genzano on the Via Appia Antica, a town whose population of about 10,000 inhabitants has remained virtually unchanged. The site of Corot’s painting eluded Alfred Robaut, the artist’s friend and biographer, who entitled it simply “Campagne de Rome – Fabriques au sommet d’une colline.” The two uppermost buildings seen here are the campanile of the town’s cathedral, Santa Maria della Cima, and the imposing Palazzo Cesarini. An almost identical painting was recorded by Joseph Mallord William Turner in a watercolor of circa 1818 (last recorded in the Lennox-Boyd collection, London, see Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London, 1987, p. 76).