Raoul Dufy

Alex Reid & Lefevre, London (acquired by 1936)
The 9th Earl of Jersey (acquired from the above)
Thence by descent to the present owners

Paris, Galerie Max Kaganovitch, Œuvres récentes de Raoul Dufy, 1936, no. 18
London, Alex Reid & Lefevre, Raoul Dufy, 1936, no. 34

Maurice Laffaille, Raoul Dufy, Catalogue raisonné de l'œuvre peint, Geneva, 1973, vol. 2, no. 865, illustrated p. 351

The canvas is not lined. UV examination reveals a small area of retouching at central part of the brow of the hill and a further small line to the centre of the extreme upper edge. There are a few other areas of fluorescence in places, these are probably the artist's own reworkings. Otherwise, this work is in overall very good condition. Colours: Overall fairly accurate in the printed catalogue, though the colours are slightly warmer in the original.
"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."

Le Bassin de Deauville is testament to the extraordinary sense of joie de vivre that characterises Raoul Dufy’s entire artistic œuvre, and for which he is so admired. The present work’s vibrant palette and energetic execution nod to the artist’s beginnings as a pioneer of the short-lived but much-loved Fauve movement. Though the Fauves are often credited with inventing dynamism and colour in their works, Dufy also actively went in search of it in the world around him. In this respect, the bustling seaside proved to be the perfect subject matter, with its flapping flags, colourful sails and jolly spectators. In the present work, Dufy shows us a snapshot of fashionable Deauville, a glitzy summer resort also immortalised by that other Fauve master, Kees van Dongen. Here the viewer is invited into an energetic world of leisure and invigorating sea air. The lack of central focal point is absolutely deliberate on Dufy's part, because the true subject of Le Bassin de Deauville is of course its dynamic energy.