Nico Mazaraki, Vence (acquired directly from the artist)
Mlle Geneviève Gallibert, Paris & Vence (by descent from the above)
Crane Kalman Gallery, London
Acquired from the above

Paris, Musée national d'art moderne de Paris, Derain, 1954-55, no. 66, illustrated in the catalogue
Geneva, Galerie Motte, André Derain, 1955, no. 11, illustrated in the catalogue
Nice, Palais de la Mediterranée, Peinture à Nice sur la Côte d'Azur 1860-1960, 1960, no. 37
Tokyo, Takashimaya Art Gallery; Kyoto, Takashimaya Art Gallery & Nagoya, Nagoya City Museum, André Derain, 1981, no. 35, illustrated in color in the catalogue 

Michel Kellermann, André Derain, Catalogue raisonné de l'oeuvre peint, vol. II, Paris, 1996, no. 568, illustrated p. 43

The canvas has been lined. There is scattered hairline craquelure throughout. The surface is slightly dirty. Under UV light, there is a layer of varnish that is hard to read through, however there are several possible nailhead sized areas of inpainting in the sky. There is a vertical area of restoration above and to the right of the signature. The work is in 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.

In the years following World War I, Derain rejected the brilliant colors he had used during his Fauve years and instead used quieter harmonies. He was an admirer of early French landscape painting, particularly the work of Courbet, Corot and his contemporary Renoir. In the early 1920s, Derain introduced a new softness of form into his work, exemplified in the the present landscape.  The first owner of this work was the great collector Nico Mazaraki. Geneviève Gallibert, who would inherit the present work along with several others, was Mazaraki's mistress. Gallibert was a painter herself, having studied under Raoul Dufy, and they had a rich artistic relationship. Gallibert was married to Louis Hirshauer, an important pioneer of aviation.