Maurice UTRILLO
Bourg-la-Reine sous la neige. Um 1927.
Oil on board.
Signed lower right: Maurice. Utrillo. V.
Inscribed lower left: Bourg-la-Reine (Sceaux).
50 × 61.5 cm.
Provenance:
– Collection of Dr. Robert Bühler, Winterthur.
– Private collection, Switzerland, thence by descent.
Exhibited:
Winterthur 1949, Winterthurer Privatbesitz II, Kunstmuseum Winterthur, 28.8.–20.11.1949, no. 208 (label verso).
Literature:
Paul Pétridès: L’œuvre complet de Maurice Utrillo, Paris 1969, vol. III, pp. 156/157, no. 1703 (with ill.; with erroneous measurements).
Our thanks to the Association Maurice Utrillo for confirming the authenticity of this work, April 2025.
Maurice UTRILLO
Église des Vaux-de-Cernay. Circa 1930.
Oil on canvas.
Signed lower right: Maurice, Utrillo, V.
53.8 × 64.5 cm.
Provenance:
Private collection, West Switzerland.
Exhibited:
Japan 1988/89, Maurice Utrillo, Kintetsu Grande Galerie Osaka, 1.–16.11.1988/Prefectural Museum of Art Nagasaki, 26.11.–18.12.1988/Kitakyushu City Museum of Art Fukuoka, 22.12.1988–5.2.1989/Prefectural Museum of Art Hiroshima, 10.2.–5.3.1989/Sogo Museum of Art Yokohama, 15.3.–16.4.1989, no. 64 (with ill.).
Literature:
Paul Pétridès: L’œuvre complet de Maurice Utrillo, Paris 1969, vol. III, p. 182, no. 1793 (with ill. p. 183).
Our thanks to the Association Maurice Utrillo for confirming the authenticity of this work, April 2025.
Maurice UTRILLO
Rue Saint-Vincent, Montmartre. Circa 1908–10.
Oil on board on panel, cradled.
Signed lower left: Maurice. Utrillo.
75 × 105 cm.
Certificate:
Jean Fabris, Pierrefitte-sur-Seine, 27.1.2014.
Provenance:
– Sale Mainichi, Tokio, 15.4.2014, Lot 251.
– Ono Group, Tokio.
– Sale iART, Tokio, 21.2.2015, Lot 56.
– Private collection, acquired at the above auction.
– Sale Christie’s, 13.11.2021, Lot 861.
– Private collection Germany, acquired at the above auction.
The work is registred in the archive of the Association Maurice Utrillo under no. 5478.
This large painting is from Utrillo’s early period and shows the Rue Saint-Vincent in the Montmartre district. Characteristic of these early years is the grey and white texture of the houses, modelled on the crumbling facades of the dilapidated houses on the Paris hill. The rectangular blocks lined up against each other have an almost cubist effect. What is unusual in the composition is that there are no figures, only a single street lamp. The road does not lead to the church but into the unknown, giving the painting a mysterious atmosphere.