Galerie Urban, Paris
O'Hana Gallery, London
Sale: Christie's, New York, November 20, 1986, lot 355
Galerie Fischer, Lucerne
Private Collection (acquired from the above and sold: Christie's, New York, May 13, 1998, lot 240)
Acquired at the above sale

Work is in excellent condition. Canvas is not lined. There are two very small spots of loss in the green skirt, one near center of bottom edge and one near figure's knee. Work has a rich surface impasto. Under UV light: no inpainting is apparent.
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.

In Sur la Dune, van Dongen depicts an unidentified pair of sitters whose seductive pose and attire give an air of vibrancy and boldness characteristic of his most accomplished portraits. The alluring beauty of the modelಞs is accentuated by their dreamy expressions and the contemplative mood of their setting, a field of grasses. Juxtaposed against the brilliant yellow fields, soft blue sky and gr♎een water in the background, the bright dresses of the girls create a dramatic and striking contrast. The green highlights on both figure's faces, typical of the artist's Fauve portraits, demonstrate his disregard for anatomy and naturalistic representation.

According to Denys Sutton, van Dongen's reputation was made by these portraits of the 1920s and 30s, "his major successes were scored with his portraits of women... in which chic and charm are admirably suggested... He made no secret of the fact that he liked painting women and that he sought to 'improve' (his word) the feminine race by the images that he created. He was anxious to render the long line of a woman trained by sport, with large green eyes, long eyelashes, satin or opaque skin, white, ochre, rose or green" (Denys Sutton, Van Dongen, Tucson, 1971, pp. 48 & 50).