Attributed to Raoul Dufy, it does not have a COA. Medium: Watercolor gouache. Stamped paper D'Arches, prestigious paper brand used by the best watercolor painters. Provenance: private collection from New Jersey. Painting in inches: 30 x 22

Biography: (born June 3, 1877, Le Havre, France—died March 23, 1953, Forcalquier), French painter and designer noted for his brightly coloured and highly decorative scenes of luxury and pleasure.
In 1900 Dufy went to Paris to attend the École des Beaux-Arts. He painted in an Impressionist style in his early work, but by 1905 he had begun to employ the broad brushstrokes and bright colours typical of the Fauve artists. A 1907 exhibition of Paul Cézanne’s work convinced Dufy to adopt temporarily more subdued colours and structured compositions. He worked in a Cubist-influenced style with the painters Georges Braque and mile-Othon Friesz during 1908 and 1909, but he soon returned to his more carefree Fauvist approach.
Dufy was also a successful artist in other media. In 1910 he produced a series of woodcuts to illustrate poet Guillaume ApollinaireÂ’s Bestiary. He began to create designs for a textile company in 1912, and in the 1920s he designed ceramics and tapestries. In the early 1920s Dufy rededicated himself to painting and began to produce what are now his best-known works. His distinctive style is characterized by bright colours thinly spread over a white ground, with objects sketchily delineated by sensuously undulating lines. Dufy took as his subjects scenes of recreation and spectacle, including horse races, regattas, parades, and concerts. He spent much of his time on the French Riviera and produced series of paintings of Nice (1927), the Bois de Boulogne (1929), and Deauville (1930). He also worked as an illustrator and printmaker, creating whimsically drawn etchings and lithographs in the 1920s and 30s. Though very popular, his lively, carefree, elegant paintings have been criticized as occasionally bordering on the superficial.

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Mint, paper oxidation due to time and wear, it does not affect the beauty of the art piece.

38 x 29.5 in