Details

Provenance

J. M. Goldschmidt, New York Perls Galleries, New York Peter & Elizabeth Rübel, New York (acquired by 1956) Private Collection, Switzerland Acquired by the present owner in 2005

Exhibited

New York, Perls Galleries, Raoul Dufy , 1950, no. 6 Zurich, The Swiss Institute for Art Research, Maîtres de la 1ère Génération du XXe Siècle, The Rübel Collection, New York , 1956, no. 14, illustrated in the catalogue Washington, Gallery of Modern Art & Connecticut, Wadsworth Atheneum, 20th Century Painting and Sculpture from Connecticut Collections , 1965 Art Gallery of Ontario, Ontario (on loan from 1978-90) London, Hayward Gallery, Raoul Dufy, 1877-1953 , 1983-84, no. 73, illustrated in the catalogue

Literature

Sélection , Antwerp, 1928, illustrated p. 54 Christian Zervos, Raoul Dufy , Paris, 1928, illustrated p. 78 Maurice Laffaille, Raoul Dufy, Catalogue raisonné de l'oeuvre peint , Geneva, 1974, vol. II, no. 484, illustrated p. 65 Condition The canvas is not lined. There is a nailhead-sized spot of retouching to the centre right of the bottom edge, visible under UV light. Apart from some pinhead-sized paint losses to the top right corner, this work is in very good condition.<br><br>Colours: Overall fairly accurate although overall less red and the colours are deeper and richer in the original, the blue is more azure. "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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE." Catalogue Note In 1922, Dufy travelled to Italy in search of a new source of inspiration for his art.  During his time there, he became very interested in architecture as a subject and throughout his career he continued utilising the forms of buildings to frame landscapes. The influence of Dufy's stage designs can clearly be felt in the composition of the present work; Dufy often used seaside scenes in his theatre designs, and here the interior of this chapel at Vallauris creates a stage behind which Golfe-Juan provides the backdrop. The modulated tones of cerulean blue in this work gives it a profound luminosity, and reflect Dufy's belief in the individuality of this colour. 'Blue is the only colour which, whatever its tone, preserves its own individuality. Look at blue in all different shades, from the darkest to the lightest; it is always blue' (quoted in Pierre Courthion, Raoul Dufy , London, 1950, p. 52). Fig. 1, Henri Matisse, Entrée à la Kasbah , 1912, oil on canvas, Pushkin Museum Moscow

Catalog summary

Raoul Dufy VALLAURIS signed R. Dufy (lower centre) oil on canvas 73 by 92cm., 28 3/4 by 36 1/8 in. Provenance J. M. Goldschmidt, New York Perls Galleries, New York Peter & Elizabeth Rübel, New York (acquired by 1956) Private Collection, Switzerland Acquired by the present owner in 2005 Exhibited New York, Perls Galleries, Raoul Dufy , 1950, no. 6 Zurich, The Swiss Institute for Art Research, Maîtres de la 1ère Génération du XXe Siècle, The Rübel Collection, New York , 1956, no. 14, illustrated in the catalogue Washington, Gallery of Modern Art & Connecticut, Wadsworth Atheneum, 20th Century Painting and Sculpture from Connecticut Collections , 1965 Art Gallery of Ontario, Ontario (on loan from 1978-90) London, Hayward Gallery, Raoul Dufy, 1877-1953 , 1983-84, no. 73, illustrated in the catalogue Literature Sélection , Antwerp, 1928, illustrated p. 54 Christian Zervos, Raoul Dufy , Paris, 1928, illustrated p. 78 Maurice Laffaille, Raoul Dufy, Catalogue raisonné de l'oeuvre peint , Geneva, 1974, vol. II, no. 484, illustrated p. 65 Condition The canvas is not lined. There is a nailhead-sized spot of retouching to the centre right of the bottom edge, visible under UV light. Apart from some pinhead-sized paint losses to the top right corner, this work is in very good condition.<br><br>Colours: Overall fairly accurate although overall less red and the colours are deeper and richer in the original, the blue is more azure. "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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE." Catalogue Note In 1922, Dufy travelled to Italy in search of a new source of inspiration for his art.  During his time there, he became very interested in architecture as a subject and throughout his career he continued utilising the forms of buildings to frame landscapes. The influence of Dufy's stage designs can clearly be felt in the composition of the present work; Dufy often used seaside scenes in his theatre designs, and here the interior of this chapel at Vallauris creates a stage behind which Golfe-Juan provides the backdrop. The modulated tones of cerulean blue in this work gives it a profound luminosity, and reflect Dufy's belief in the individuality of this colour. 'Blue is the only colour which, whatever its tone, preserves its own individuality. Look at blue in all different shades, from the darkest to the lightest; it is always blue' (quoted in Pierre Courthion, Raoul Dufy , London, 1950, p. 52). Fig. 1, Henri Matisse, Entrée à la Kasbah , 1912, oil on canvas, Pushkin Museum Moscow