Maurice de Vlaminck

O'Hana Gallery, London (acquired by 1968)
Mrs Pola Pasvolsky, Cape Town (sale: Christie's, London, 30th June 1999, lot 220)
Private Collection
Sale: Christies, New York, 4th November 2009, lot 251
Purchased at the above sale by the present owner

London, O'Hana Gallery, Summer Exhibition of Paintings and Sculpture of the Nineteenth and Twentieth Centuries, 1968, no. 54

There is a layer of surface dirt and discoloured varnish. There are light surface scratches to the top of the building on the left hand edge. There fine lines of paint shrinkage to the impasto in the lower left corner. The canvas has been lined. UV light reveals a layer of opaque varnish which prevents a conclusive examination. There are however more recent spots of retouching mainly in the sky and a few small spots to the foreground visible under UV. Overall the work is in 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present work demonstrates Vlaminck's continued preoccupation with the nuances of colour as his mature palette evolved out of his Fauve years. This superb example from his Cézannesque period is witness to Vlaminck's new concern with issues of spatial construction. Jean Selz writes: 'the angular planes, striking contrasts of light and shade and introduction of more sombre tones all contribute to the harmony of Vlaminck's canvas, permitting the artist to transpose his predilection for vivid, riotous colours to that of mastering form' (Jean Selz, Vlaminck, Lugano, 1965, p. 64). The viewer is witness to this solidity and strength of structure in the buildings depicted in the present work, whilst the artist's fondness of freedom and fluidity remains, finding expression too in the tranquil water.