歐內斯特•梅依, 巴黎 (1879年前購入, 至1921年)
安德烈•莫里斯, 巴黎（約1955年購入）
賣出: 德魯•黎塞留拍賣行, 巴黎, 現代繪畫, 1991年4月15日, 拍品編號 28
私人收藏 (購於上述拍賣會)

巴黎, 「第四屆繪畫展」, 1879年, 品號28
巴黎, 秋季沙龍畫展「卡勒波特回顧展」, 1921年, 品號2743

瑪麗•巴奧, 《古斯塔夫•卡勒波特》, 巴黎, 1951年, 品號81 (註：被定為1878年作)
瑪麗．巴奧，《卡勒波特生平與作品：繪畫與粉彩作品專題目錄》，巴黎，1978年， 品號99， 圖版頁116
蘇菲•蒙奈黒,《印象主義與其時代》, 第3冊, 巴黎, 1980年, 列於第151頁
皮埃爾．維特瑪， 《卡勒波特與伊爾花園》，紐約，1991年，列於第308頁
瑪麗．巴奧，《卡勒波特生平與作品：繪畫與粉彩作品專題目錄》，巴黎，1994年， 品號99， 圖版頁107
埃里克•達哈干, 《卡勒波特》, 巴黎, 1994年, 圖版頁16-17
露絲•博森編輯, 《新繪畫. 印象主義, 1874－1886： 文檔》, 第2冊, 三藩市, 1996年, 品號IV-28, 圖版頁125
《古斯塔夫•卡勒波特： 未知的印象派畫家》 (展覽圖冊）, 倫敦, 皇家藝術學院, 列於第210頁
皮埃爾•桑切斯, 《秋季沙龍展詞典：參展者目錄與提交作品名單, 1903－1945》, 第1冊, 第戎, 2006年, 列於第271頁

Executed on cream colored wove paper laid down on board. Artist's pinhole at center of bottom edge. Slight abraisons to extreme edges of sheet from a prior mounting. Small tear at extreme upper right corner. Colors are bright and fresh. Work is in very good condition.
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.

In 1860, Caillebotte's father acquired a property in Yerres, a verdant river valley southeast of Paris. The young Caillebotte was instantly taken with the early nineteenth century gardens around the estate and the expanse of rolling hills that extended beyond. The landscape at Yerres, along with the gardens at Petit Gennevilliers, would figure prominently in the artist's oeuvre. In La Vallée de l'Yerres, Caillebotte layers rich pastels to convey the patterned landscape of the valley. With a high horizon line, characteristic of many of the artist's early landscapes,🐭 Caillebotte eschews the common expectations of landscape painting at the end of the nineteenth century with a boldly modern g✱esture.

Pierre Wittmer writes of the significance which Yerres held for Caillebotte, "The Yerres river - thanks to its location and scenic attraction... - was as important to Gustave Caillebotte as the Epte was to Claude Monet or Mont Saint-Victoire was to Paul Cézanne. The artist adapts the reality of his world to his needs. Gustave Caillebotte gave the sites in which he lived a new and original and wholly personal dimension. His rendering of rural life evokes its perennial and cyclic nature, always leaving us with a sense of the rhythm of passing days and seasons" (P. Wittmer, op. cit., p. 28).

La Vallée de l'Yerres was included in the fourth group exhibition which the Impressionists mounted in 1879. The exhibition took place at 28 avenue ꦯde l'Opera and included seminal works by Caillebotte, Degas, Monet and Pissarro. Caillebotte himself assumed an importꦬant role in organizing this fourth Impressionist group exhibition.