Raoul Dufy

James Vigeveno Galleries, Los Angeles
Leigh Block, Chicago
Acquired from the above and thence by descent to the previous owner's granddaughter

Fanny Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, vol. I, Paris, 1982, no. 983, illustrated p. 359

In very good condition. Executed on wove paper and hinged to mount at top corners. Some faint fox marks visible in the white unpainted areas of the sheet. The two side edges were unevenly cut. there is an indented scrape to the sheet at top right corner. Some tiny losses to the aubergine pigment, notable in the tiny figures standing in front of the red square building, furthest to the left. Colors are bright and fresh. Verso: scattered foxing and some remnants of tape aroun the edges. 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.

From the beginning of the 1920s, the pageantry of the racecourse became one of Dufy's favorite themes. The artist frequented the horse races with leading creators of fashion such as Paul Poiret and Bianchini, who prodded the artist to study the fashionable ladies and gentleman in attendance. Friends who accompanied Dufy on his expeditions to the track recalled that at this time he became more interested in the colors of the horses and jockeys, their movement, and the animation of the spectators in the crowd.

Bryan Robertson writes, "the figures became essences, wraiths, or like flowers, everything again given up to the crisp, jaunty interaction between green turf, red brick buildings, white railings, multi-colored crowds, green trees against blue sky with sprightly puffs of clouds" (Bryan Robertson, Raoul Dufy 1877-1953, 1963, p. 27).

Fig. 1 The artist in his studio in 1932