Raoul Dufy

Private Collection (acquired circa 1960)
Galerie Fanny Guillon-Laffaille, Paris
Acquired from the above circa 2002

This work is in very good condition. Canvas is not lined. Surface is attractive though it may benefit from a very light cleaning. There are a few small spots of minor pigment shrinkage at upper left corner. Under UV light there are a few strokes of inpainting around the extreme perimeter to address prior frame abrasion, otherwise fine.
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.

Dufy’s Fauve spirit, notably his desire to play with colors and the simplification of form, is exemplified in the splendid work Nice, la baie des Anges. The picture depicts the coastal scene of Nice—one of Dufy’s favorite subjects—through splashes of vibrant colors painted onto the canvas in bold, deliberate strokes. Details are suppressed in favor of clear lines, and the flattened background is contrasted against the defined forms at the foreground of the picture.  While such creative use of outlines signal a flattening of space in the image, Dufy still maintains a innocative sense of depth. Writing about the artists landscapes and seascapes, Dora Perez-Tibi comments: “Dufy created a theatrical architecture which provided the illusion of space: he conceived his set as a window which allows a view from above, increasing the size of the stage and enabling the painter to extend his vision across the expanse of the sea… Dufy uses an imaginary perspective and gives certain elements of his composition an importance related to his own personal vision. Allowing his imagination free reign, he enlivens the foreground…” (Dora Perez-Tibi, Dufy, London, 1989, pp. 124-25).