RAOUL DUFY | Epsom

Galerie Mizrachi, France
Mr & Mrs Robert B. Mayer, Chicago (acquired from the above in 1957)
Nathan Cummings, Baltimore (sale: Sotheby's, New York, 15th November 1984, lot 155)
Sale: Sotheby's, New York, 4th May 2005, lot 186
Hilde Gerst, New York (purchased at the above sale; sale: Christie's, New York, 10th May 2007, lot 235)
Purchased at the above sale by the present owner

Executed on thick cream wove paper, not laid down and attached to the mount at each corner. The edges of the sheet are deckled and show evidence of light handling marks (not visible when framed). There are some very minor spots of foxing in the upper part of the sheet and a small loss to the pigment in the background at the centre of the sheet. There is a small repaired perforation to the left part of the lower edge. This work is in overall good condition.
"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."

Raoul Dufy's racing scenes are among his most sophisticated and appealing works and Epsom is a superb example of his ability to capture both the excitement of the race day and the sartorial elegance of its onlookers. Depicting the racecourse from a striking and elevated perspective, the present work captures the moments between the races: a time given over to social promenading and conversation. Still one of the highlights of the racing calendar, taking place in early June each year, the Epsom Derby was a favourite occasion for Dufy alongside Royal Ascot, and he frequently returned to the subject throughout the 1930s. Bryan Robertson has noted that: ‘in Dufy's racecourse scenes... everything is again given up to the crisp, jaunty inter-action between green turf, red brick buildings, white railings, multi-coloured crowds, green trees against blue sky with sprightly puffs of clouds' (Bryan Robertson, 'An Introduction to Raoul Dufy' in, Raoul Dufy 1877-1953 (exhibition catalogue), London, 1983, p. 43). The vibrant dress, shaded stadia, and broad expanses of lawn at the racecourses of Europe provided Dufy with ample opportunities to develop his colour theory. As Dora Perez-Tibi has explained, ‘These racecourse scenes - whether in France, at Deauville, Longchamp or Chantilly or, in England, at Epsom, Ascot or Goodwood - allowed Dufy to put his couleur-lumière theory into practice. When the light ran parallel to the earth he observed that it struck the vertically represented object from one side only, while the other side remained in shadow. He decided to convey light by means of colour; the absence of colour characterizes the unlit area... For Dufy, the balance of the composition comes from the distribution of all points of light in the centre of each element of the painting. It was here that he found the secret of his composition’ (Dora Perez-Tibi, Dufy, New York, 1989, pp. 158-162).



The authenticity of this work has been confirmed by Fanny Guillon-Laffaille.