The Comité Sisley has confirmed the authenticity of this work. This work will be included in the new edition of the catalogue raisonné of Alfred Sisley by François Daulte, being prepared at the Galerie Brame & Lorenceau by the Comité Sisley.
Sisley moved to Veneux-Nadon, near Moret-sur-Loing, in 1880 and he painted there and in the other villages near Moret-sur-Loing such as Les Sablons and Saint-Mammès until his death.
Richard Shone has commented on Veneux-Nadon: ‘The situation was ideal for the variety of the immediate landscape - farmland and forest, rail, river and canal, cottage gardens on the one hand, overgrown copses on the other, the whole area teeming with chance viewpoints and constantly changing light’ (R. Shone, Sisley, London, 1992, p. 128).
At this time Sisley began to vary his painting technique according to his subject. Raymond Cogniat has observed: ‘Sisley has a particular way of treating each of the elements in the landscape, none of which seems to him to be of minor importance. The strokes with which he paints the sky, the water, the buildings, the vegetation are not alike. He does not use the same technique to describe the various parts of a picture. There are numerous canvases in which short, separate brush strokes depict the ground or the leaves, while the sky relies on blended and transparent tones’. (R. Cogniat, Sisley, New York, 1978, p. 76.)