Georges Keller, Paris
Lord Radcliffe, United Kingdom
Lefevre Gallery, London
Galerie Paul Pétridès, Paris
Acquavella Galleries, New York
Marlborough Gallery, London
Acquired from the above in 1965

Paris, Grand Palais, Salon d'automne, 1912, no. 1654
Paris, Galerie Barbazanges, Maurice Utrillo oeuvres peintres de 1910 à 1914, 1925, no. 36
London, Lefevre Gallery, Utrillo: The White Period (1910-1915), 1935, no. 14
London, Lefevre Gallery, 20th Century French Paintings, 1943, no. 38
Nottingham, University of Nottingham, An Exhibition of Impressionist and Other Pictures from the Private Collection of the Rt. Hon. Lord Radcliffe, C.B.E., Q.C., 1958, no. 23

Paul Pétridès, L’Oeuvre complet de Maurice Utrillo, vol. I, Paris, 1959, no. 314, illustrated p. 377
Jean Fabris & Cédric Paillier, L'Oeuvre complet de Maurice Utrillo, Paris, 2009, no. 400, illustrated p. 471

This work is in good overall condition. For the complete condition report prepared by Simon Parkes Art Conservation please contact the Impressionist & Modern Art Department at +1 (212) 606 – 7360.
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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Utrillo first visited Sannois, an outer suburb of Paris, in the spring of 1912, and would return again the following year. The purpose of these visits was fundamentally restorative—Utrillo spent time at the sanatorium seeking one of his many “cures” (Utrillo suffered from depression and alcoholism throughout his life). Utrillo was free to spend time outside during his treatment, and he painted many scenes of Sannois, with its gentle green hills and windmills. The paintings from this time, often referred to as Utrillo’s “white period” or manière blanche are characterized by the muted white of their palette—a product of his use of zinc white as pigment—and their flat geometry. Alfred Werner credits this economy of means in technique for the visionary quality of Utrillo’s early works: “What makes us admire most of the works he created between about 1903 and 1924 is the fact that in those two decades his art, if not one of imagination, was one of stupendous vision. Nearly always the composition is rather simple: horizontal, vertical, and diagonal lines establish a sort of framework within which, through rich brushwork, Utrillo could transform objective reality into captivating images” (Alfred Werner, Maurice Utrillo, New York, 1981, p. 43).