Galeries Georges Petit, Paris (acquired directly from the artist in March 1918)
Sahlman Fine Art, LLC, New York
Private Collection, New York (acquired from the above in November 2000 and sold: Christie's, New York, November 4, 2010, lot 329)
Acquired at the above sale

Paris, Galeries Georges Petit, Tableaux et sculptures, 1918, no. 67

Yann Farinaux-Le Sidaner, Le Sidaner, L'Oeuvre peint et gravé, Paris, 1989, no. 388, illustrated p. 156
Yann Farinaux-Le Sidaner, Henri Le Sidaner, Paysages intimes, Saint-Rémy-en-l'Eau, 2013, n.n., illustrated p. 155

This work is in overall excellent condition. The canvas is not lined and there are no signs of retouching visible under UV light. There is an artist's pin hole in each corner with a few tiny flecks of associated paint loss. There are scattered fine lines of craquelure. The impasto is thick and well-preserved.
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.

This charming view of Moret-sur-Loing was painted at the height of the artist's career. The commune was a great source of inspiration for other great Impressionist painters, including Monet, Renoir and Sisley, and indeed Maisons sur la rivière au soleil couchant, Moret features Le Sidaner's own signature Impressionistic style which he adopted in 1898. The canvas, which underscores Monet's great influence on the artist, presents us a romantic view of a river bank and a bridge in the town of Moret. In this particular scene, Le Sidaner successfully explores the effect of evening light on the river, soothing the viewer's gaze and conveying a sense of tranquility. As Paul Signac stated, "Le Sidaner's entire work is influenced by a taste for tender, soft and silent atmospheres" (quoted in Yann Farinaux-Le Sidaner, op. cit., 2013, p. 31).