T. Jefferson, London;
Anonymous sale, London, Christie's, 8 July 1929, lot 72;
With Asscher and Welcher, London;
Paul Larsen, London;
Anonymous sale, New York, Sotheby Parke Bernet, 15 November 1950, lot 80;
Anonymous sale ('The Property of a Private Collector'), New York, Christie's, 11 January 1989, lot 129;
There purchased by the present collector. 

T.H. Fokker, Jan Siberechts, Brussels 1931, pp. 52, 74, and 98, reproduced, plate 38;
J. Harris, The Artist and the Country House, London 1979, p. 47.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work seems to be in very good condition. It has not been recently cleaned. The lining is old but good. There is no sign of any abrasion to the paint layer. All of the details within the animals and figures are nicely preserved. There are a couple of repaired breaks in the canvas in the lower left. There may be an original canvas join running vertically about 6 inches from the left edge. The signature and date in the lower right are in good state. Although a few retouches will presumably be removed when the picture is cleaned, the result should be very fruitful.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Jan Siberechts arrived in England from Flanders in 1673, under the aegis of George Villiers, 2nd Duke of Buckingham, and at once attracted notable patrons, no doubt owing to his well-established reputation among the Flemish elite. His new English patrons included the Duke of Lauderdale (for whom he probably painted a large panorama of the Thames from Richmond Hill), Sir Thomas Thynne and Sir Thomas Willoughby. Willoughby commissioned magnificent prospects of Wollaton Hall in Nottinghamshire, and also a very similar view to the present composition looking towards Henley which is dated 1693. Though it has been suggested previously that Siberechts never painted so far north as Derbyshire, it is clear that he did, owing to drawings made by Siberechts around Chatsworth, as well period extant invoices between he and the then Duke of Devonshire, and most compelling of all a magnificent painting depicting Chatsworth from the East (circa 1703; fig. 1), acquired this year by the Chatsworth House Trust. The depicted Church here almost certainly represents Edensor, near the grounds of Chatsworth. Though the structure which would have been known to Siberechts was torn down in the 19th century for a larger Victorian structure, a circa 1860 photo of the church in its original form does strongly resemble the painted structure shown here. 

An inferior version of this painting, formerly at Finedon Hall, Northamptonshire, was sold London, Sotheby's, 13 July 1994, lot 93. Another horizontal version, dated 1💛684, was formerly in a German private collection.