Kestner-Gesellschaft, Hannover
Private Collection (and sold: Christie's, New York, November 8, 1995, lot 211)
Acquired at the above sale

Daniel Henry Kahnweiler, Maurice de Vlaminck, Leipzig, 1920, illustrated p. 24

Canvas is unlined. Some minor cracking in the lighter pigments in the lower left quadrant. Under UV light, one nailhead size spot of inpainting at center of top edge and one above the signature as well as a few scattered spots at upper left and lower right corners. Otherwise fine, 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present work provides a startling contrast to the bold, primary colors of Vlaminck's fauve period and evidences his desire to find a more measured and developed approach to form in the closing years of the first decade ♔of the century. He found inspiration to move in a new direction in the work of Cézanne whose art he was certainly already familiar with. Several major retrospectives of C!zanne's work after his death in 1906 would spur this vital period of transition.

The subject here is the orangery at Versailles, part of the vast complex that forms the palace and gardens laid out for King Louis XIV by Jules Hardouin-Mansart 💙in the 1680s. Architectural elements dominate and are 🍰rendered with a distinct sense of order derived from the influence of C!zanne's careful construction of his landscape compositions. Vlaminck's use of the familiar palette of blues, greens and soft ochre further demonstrates the influence of the master of Aix-en-Provence. These moves towards a more subtle and meditative style would become the hallmarks of Vlaminck's mature style of which the present work is a superlative example.