Maurice de Vlaminck

Daniel-Henri Kahnweiler, Paris
O'Hana Gallery, London
Doris Morrison, England (probably acquired from the above by 1950)
Andrea M. Bronfman (by descent from the above)
Thence by descent

The canvas is not lined and there appear to be no traces of retouching visible under UV light. Some light frame abrasion to the extreme edges. A fly spot towards the upper centre. This 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.
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During the transitional period between Fauvism and the more familiar output of his later years, the influence of Paul Cézanne led to a major modification in Vlaminck's style. It is surely no coincidence that Cézanne featured in a number of important exhibitions in 1908 and 1909. From 1908, like most of his Fauve friends, Vlaminck had begun to move away from the violence of pure color and turn towards more muted tonalities and more sober and rigorous compositions. Here the artist offers us a representation of a peaceful summer day with the brilliant red distant rooftops providing a central focal point and the tall cypresses serving to frame the view.  The high-pitched color and slashing strokes of the Fauve years gave way to more subdued tones and a smoother application of paint.  This new style would earn him, two years later, this glowing review from Guillaume Apollinaire: "Maurice de Vlaminck is one of the most gifted painters of his generation.  His vision is large, powerful: his sober and intense technique allows lines to retain all of their freedom, shapes all of their relief, colours all of their clarity, all of their beauty" (Guillaume Apollinaire, L'intransigeant, March 16th, 1910).