Raoul Dufy

Hilde Gerst Gallery, New York
Jean Deleage, San Francisco (acquired from the above)
Acquired from the above by the present owner

Paris, Galerie Bernheim-Jeune-Dauberville, Chefs-d'oeuvre de Raoul Dufy, 1951
Paris, Galerie Jean-Claude et Jacques Bellier, D'Ingres à nos jours, aquarelles, pastels et dessins, 1960, no. 25, illustrated in the catalogue

Fanny Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, vol. I, Paris, 1981, no. 890, illustrated p. 325

The work is in very good condition. Executed on cream wove paper hinged to a mount at two places on the top left and right corners of the verso. The left and right edges of the sheet are deckled and the top and bottom edges have been cut. The sheet is a little time-darkened and there are mat stains present toward the extreme outer edges. Aside from a couple extremely minor studio stains the work is 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 first approached the subject of horse racing as early as 1913, but by the 1920s it had become a central theme in his oeuvre. The range of bright colours and the vibrant energy at these events appealed to the artist. Encouraged by his friend and fashion designer Paul Poiret, Dufy initially concentrated his attention on the fashionable dress and sociable crowd in and around the races. He was subsequently drawn to the exhilirating atmosphere surrounding the race itself. In Paddock à Nice, Dufy employs both of these subjects. While an active crowd mingles with the jockeys in the foreground, the background provides a glimpse into the excitement and activity on the racetrack and in the stands. Dufy saturates his subjects with rich colors that accentuate the vitality of these events. As Bryan Robertson describes, "Gradually, in Dufy's racecourse scenes... everything is given up to the crisp, jaunty interaction between green turf, red brick buildings, white railings, multi-coloured crowds, green trees against blue sky with sprightly puffs of clouds" (Bryan Robertson, Raoul Dufy 1887-1953 (exhibition catalogue), London, 1983).

The horse races provided ample opportunity for Dufy to employ his couleur-lumière. This technique, which emphasizes color over the shading properties of black and white, allowed the artist to convey light in a distinct way. As Dora Perez-Tibi describes, "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...He decided to convey light by means of colour; the absence of colour represents the unlit area... For Dufy, the balance of the composition comes from the distribution of all the 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 present work is a perfect example of Dufy's extraordinary ability to convey the vibrant atmosphere that pervades the social spectacle of horse racing.