Galerie Vallotton, Lausanne
Private collection, Paris (acquired from the above circa 1950)
Edouard & Jeannine Chapet, Paris

Tokyo/Osaka, Cinquième exposition d'art français contemporain, 1926, no. 549
Paris, Galerie Druet, Peintres de la Bretagne, 1937, no. 32 (titled L'Eglise de Dinan)
Driffield, Burton Agnes Hall, Modern Paintings, 1951, no. 17 (titled Church at Dinan)

Félix Vallotton. Documents pour une biographie et pour l'histoire d'une œuvre, Lausanne/Paris, 1973-75, vol. III, p. 251
Marina Ducrey in collaboration with Katia Poletti, Félix Vallotton 1865-1925, Catalogue raisonné de l'œuvre peint, vol. III, Lausanne, 2005, no. 1319, ill. p. 719

The canvas is lined. There is a milky varnish preventing UV light from fully penetrating, however, examination under UV light appears to reveal a spot of retouching (approx. 5 cm wide) towards the lower part of the right edge, a smaller spot of retouching in the sky (approx. 1 cm wide) approx. 3 cm from the left edge and 6 cm from the upper edge and a few small dots and lines of retouching towards the extreme edges. There is some minor paint shrinkage most predominately in the green pigment, notably to the lower left corner and to the upper part of the tree in the upper right quadrant. There is some minor frame rubbing with associated flecks of paint losses along the extreme edges. This work is in overall good condition.
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Félix Vallotton went on several trips in 1919, at the end of the war which had profoundly affected him. This year was particularly dense for the painter, at the height of his career, with notably a new exhibition at Druet in March, followed by another he was preparing for Lausanne, at the Bernheim-Jeune Gallery at the beginning of 1920.

From the 2nd to the 16th of October 1919, he travelled to Brittany where he visited Saint-Malo, Vitré and Dinan. As was his habit, the painter made several sketches from life. Back in his Parisian studio on October 23rd, he sought, as he described to "resuscitate" the memories of his trip. He thus produced five paintings, including this landscape depicting the Church Saint-Sauveur in Dinan.

Vallotton depicts nature as eternal, haloed in almost unreal light. Less concerned with portraying representational truth than with atmosphere, he heightened the blue of the slate rooves which mingles with a multitude of shimmering greens.