Les jardins de la rue Cortot captures the walled garden and studio complex on the rue Cortot in Montmartre where Suzanne Valadon lived alongside her son Maurice Utrillo and her partner André Utter. Painted in 1922 at a moment of hard-won artistic confidence, the canvas translates a deeply personal domestic space into a boldly structured composition. Valadon's handling is assured and uncompromising, with richly loaded brushwork and a palette of sustained intensity that refuses the decorative prettiness sometimes associated with garden subjects of the period. The result is a painting that feels inhabited rather than observed, grounded in lived experience and charged with the same directness that distinguishes her figure work and still lifes. At 117 by 90 centimetres, the canvas commands a substantial presence, and the scale amplifies the confidence of Valadon's Post-Impressionist approach. Forms are defined with a characteristic clarity that owes something to her deep engagement with Cézanne and Gauguin while remaining entirely her own. The work bears a contemporary inscription reading "No 1 d'office," a detail that adds a layer of documentary interest and connects the painting to Valadon's own careful attention to her output. It is signed, and the craftsmanship of its frame speaks to the care with which the work has been preserved. Valadon's place within the history of Parisian modernism is one that scholarship has been actively reassessing and expanding, with her paintings held in collections including the Musée d'Orsay, the Centre Pompidou, the Metropolitan Museum of Art, and the British Museum. A work depicting a site so central to her biography and to the cultural geography of early twentieth-century Montmartre carries particular resonance for collectors seeking paintings that combine formal strength with genuine historical significance.