Galerie de l'Art Moderne, Paris
Private Collection (acquired at tౠhe above in 1951)

Paris, Galerie de l'Art Moderne, Vlaminck 1909-1914, 1951

The canvas is lined and UV examination reveals an intermittent line of retouching to the upper and lower extreme edges, and some scattered specks of retouching to the white sails, and their reflections. There is some very light surface dirt in places. Otherwise, this work is in overall good condition. Colours: Fairly accurate in the printed catalogue, though overall brighter and warmer 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."

In 1892, Vlaminck moved to Chatou, a small town on the river Seine, just north-west of Paris. In Chatou, the railway bridge spanning the River Seine near Versailles, became the subject of numerous paintings. In 1900 Vlaminck met André Derain, who was born in Chatou, and the two artists formed a friendship and collaboration which was to culminate in the Fauve revolution. Pierre-Auguste Renoir before them had also painted Chatou bridge in 1881, and the area to this day is known as L'Ile des Impressionnistes, reflecting this rich tradition of artists working in the ar🌠ea arou♊nd the village and its bridge.

In March 1901 Vlaminck saw an exhibition of Van Gogh's work at the Galerie Bernheim-Jeune in Paris, which was to play an important role in the development of his own style. As Vlaminck himself proclaimed: 'In him I found some of my own aspirations. Probably from similar Nordic affinities? And, as well as revolutionary fervour, an almost religious feeling for the interpretation of nature. I came out of this retrospective exhibition shaken to the core' (quoted in J. Freeman (ed.), The Fauve Landscape: Matisse, Derain, Braque and Their Circle, 1904-1908 (exhibition catalogue), County Museum of Art, Los Angeles, 1990, p. 21). The bold, quick brushstrokes, the juxtaposition of complementary tones and harmonious complex composition in Voiliers au pont de Chatou all perfectly r💖eflect𒁏 this 'revolutionary fervour' at its best.