Maurice Utrillo

Libaudé Collection, Paris
Galerie Dr Raeber, Basel
Sam Salz Inc., New York
Albert J. Dreitzer, New York
Sale: Christie's, New York, 15th May 1979, lot 34
Purchased at the above sale by the present owner

Paris, Galerie Barbazanges, Maurice Utrillo, œuvres peintes de 1910 à 1914, 1925, no. 39
New York, Wildenstein Gallery, Utrillo, 1957, no. 31, illustrated in the catalogue
Pittsburgh, Carnegie Institute, Museum of Art, Utrillo, 1963, no 27, illustrated in the catalogue

Paul Pétridès, L'Œuvre complet de Maurice Utrillo, Paris, 1959, vol. I, no. 250, illustrated p. 307
Jean Fabris & Cédric Pailler, Catalogue raisonné de l'œuvre complet de Maurice Utrillo, Paris, 2009, vol. I, no. 208, illustrated p. 272

The canvas is lined. UV examination reveals areas of retouching in the sky, an intermittent line of retouching along the extreme left and right edges, and small spots to the central part of the road in the foreground. Otherwise, this work is in overall fairly 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."

Painted towards the end of the artist's famous 'white period', the present work is a beautiful example of Utrillo's transition to more colourful compositions.  In contrast to the bold and vibrant palette favoured by the majority of his peers, Utrillo preferred a more subtle and understated colour scheme. Utrillo's artistic approach earned him great acclaim, and in 1926 the critic Adolphe Tabarant wrote of how Utrillo was 'obsessed with white - an incredible white! Dissatisfied with the effects obtainable with zinc white (the only white he used), he tries combining it with plaster, in an effort to reproduce the whites of his beloved walls. In a frenzy of realism, he would like to go as far as to put real moss on the old stones which he strives so hard to reproduce' (Adolphe Tabarant, Utrillo, Paris, 1926).

Le Petit Chateau Rose D'Asnieres (Hauts-de-Seine) is a wonderful example of the artist's celebrated use of chalky tones, and the soft greys, blues, earthy greens and delicate pinks here breathe new life into the stone walls of the chateau. The dark figure standing with his back to the viewer acts as a central focal point, drawing our attention towards the abode behind the gate, and beyond.