'In 1928-30,' Dora Perez-Tibi has noted, 'the place of the model in Dufy's studio on the Impasse de Guelma was often taken by the Indian, Anmaviti Pontry. She frequently poses nude, reclining on an Indian shawl whose decorative sumptuousness is matched by that of the hangings printed with oriental motifs: her lascivious pose and the explosion of colour suggest an atmosphere of unequivocal eroticism[...].
In Dufy's work, the model is created by colour; the light of the painting emanates from the model's flesh[...]. These nudes are at rest; the painter does not surprise them, as Degas does, at their toilette, seeking to interpret their movements, or like Bonnard, who models Marthe's body in a golden light, making it palpitate beneath his brushstroke. Their opulent appearance is devoid of vulgarity' (Dora Perez-Tibi, op. cit.
, p. 242).
The first owner of this work was Gaston de Havenon, a dealer and collector who specialised in African art. Born in Tunis, he came to the United States in 1929 and went into the perfume business, later opening an art gallery in the Fuller Building in New York.