The Mayor Gallery, London
Perls Galleries, New York
Acquired from the above by the present owner in 1963

Galerie Marcel Bernhein, Paris, Les Premières époques d'Utrillo, 1933, no. 31
Norwich, Norwich Castle Museum, Fine Paintings from East Anglia, 1964, no. 72

Adolphe Tabarant, Utrillo, Paris, 1926, illustrated p. 147
Paul Pétridès, L'Œuvre complet de Maurice Utrillo, Paris, 1959, vol. I, no. 301, illustrated p. 363 (as dating from circa 1912)
Alfred Werner, Maurice Utrillo, London, 1981, no. 54, illustrated p. 42 (as dating from circa 1912)
Jean Fabris & Cédric Pallier, L'Œuvre complet de Maurice Utrillo, Paris, 2009, no. 63, illustrated p. 120

The board is stable and laid down on canvas. There are some scattered specks and spots of retouching in the sky most of which are excessive and could easily be reduced. These are probably to cover light scratches which are intrinsic to the artist's process.There are small areas of retouching in the facade of two of the houses and some further specks of retouching at intervals along the extreme edges. All signs of retouching are visible under UV light. Apart from a minor indentation and some minor hairline scratches in the sky, intrinsic to the support and the artist’s technique, this work is in good condition. Colours: Fairly accurate, although the tones are overall less red and the colours are brighter in the original.
"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 was executed during Maurice Utrillo's 'White Period' (circa 1909-1912), the highpoint of his career. It was at this time that his realistic views of Montmartre won him the recognition of his contemporaries and his work first won public adoration from critics, dealers and collectors. In describing the artist's 'White Period', Adolphe Tabarant wrote: 'He has become obsessed with white - an incredible white! Dissatisfied with the effects obtainable with zinc white, 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 so far as to put real moss on the old stones which he strives so hard to reproduce. This is the beginning of that series of works known as the 'White period'.

'At this time Utrillo uses a palette of many whites, but these never become chalky or dull. He surrounds them with soft greys, delicate pinks, deep blues, or else contrasts them with sonorous browns and blacks. It is during this period that he achieves his most striking work... With each new work he rises to further heights and, with the most delicate sensitivity, he clothes in splendour all that the casual eye of the passerby neglects.' (Adolphe Tabarant, Utrillo, Paris, 1926).