Raoul Dufy

Marcel Capferrer, Paris
Sam Salz, New York
Mathilda Schwartz-Goldman, New York
Bequest of the above in 2002

Pierre Courthion, Raoul Dufy, Geneva, 1951, illustrated in color pl. 88
Sam Hunter, Raoul Dufy, New York, 1954, illustrated in color pl. 7
Maurice Laffaille, Raoul Dufy, Catalogue raisonné de l'oeuvre peint, vol. 2, Geneva, 1972, no. 542, illustrated p. 112

This canvas has an old French glue lining. The paint layer has been cleaned and varnished more recently and the painting should be hung as is. The texture of the paint is more or less unaffected by the lining and the condition is excellent. Under ultraviolet light there are a couple of small spots visible across the top edge which address some frame abrasion and there is some other small retouches addressing a loss in the tree in the far left in the center. There do not appear to be any other retouches of any kind and clearly this painting is in extremely good condition. The above condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's.
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.

Raoul Dufy, along with Matisse and Derain, was one of the most prominent artists at the center of Fauvism, a short-lived but incredibly popular movement, whose daring palettes and loose brushwork earned them their nickname. The heritage of this experience is evident in this view of the southern town of Vence, which Dufy first visited in 1919. This work depicts the towering Chapel enclosed within the famous medieval walled village, the oldest part of the town and of the French Riviera. Following an initial brief sojourn in Paris, Dufy discovered the luminosity of the south of France, a place he would return to throughout his career.

The vibrant palette and the singularity of this work emphasize Dufy's style of achieving a sense of movement through simplicity of lines and essentiality of form. In a striking manner, Dufy contrasts the foreground landscape comprised of erratic and curved lines with the vertical geometric lines of the towering houses. A passionate follower of the effects of color, Dufy once again combines iconic imagery with a unique painterly style.