Private Collection, Canada

Executed on cream wove paper, not laid down, hinged to the overmount at two points along the upper edge. The left and right edges of the sheet are uneven and the upper and lower edges are deckled. There is supportive tape to the reverse of all four edges. Apart from some minor foxing to the upper left edge (not visible when framed), some minor discolouration to the lower left corner and some light studio dirt to the sheet, this work is in very good condition.
"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."

Dufy's racing scenes are among his most sophisticated works and Courses à Deauville is a brilliant example of his ability to capture the excitement of the race. Dufy frequented the most fashionable race-courses of his day in France and England, employing the uꦉnique combination of movement, colour and light for his artistic pursuits. Friends who accompanied Dufy on his expeditions to the track recalled that at this time he became more and more interested in the colours of the horses and the jockeys, their movement, and in the animation of the spectators.

As Dora Perez-Tibi has explained, "These race-course 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. When the light ran parallel to the earth he observed that it struck the vertically represented object from one side only, while the other side remained in shadow. He decided to convey light by means of colour; the absence of colour characterizes the unlit area... For Dufy, the balance of the composition comes from the distribution of all 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).

COMP reference: 359L10005_COMP
Postcard of the stands at Deauville race course