Galerie Moos, Geneva
Private Collection, Switzerland (acquired from the above in the 1950s)
Thence by descent to the present owners

Maurice Laffaille, Raoul Dufy, Catalogue raisonné de l'œuvre peint, Geneva, 1973, vol. II, no. 535, illustrated p. 109

The canvas is not lined. UV examination reveals two spots of fluorescence to the upper right corner. There are two small dents to the canvas surface at the upper left corner and a further minor dent to the centre of the upper edge. There are two diagonal lines visible through the paint layer to the canvas surface towards the upper right corner (the longest of which is approx. 6cm.) with some associated paint loss, and a further tiny fleck of paint loss to the centre of the houses. There is a small nick to the extreme lower left edge. This work is in overall 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."

Raoul Dufy, along with Henri Matisse and André Derain, was one of the most prominent artists at the centre of Fauvism, a short-lived but incredibly popular movement, whose daring palettes and loose brushwork earned them their nickname ('The Wild Beasts'). The heritage of this experience is evident in this view of the southern town of Vence, which Dufy first visited in 1919. This work depicts the towering Chapel enclosed within the famous medieval walled village, the oldest part of the town and of the French Riviera more widely.

The vibrant palette and the singularity of this work emphasize Dufy's style of achieving a sense of movement through simplicity of lines and purity of form. In a striking manner, Dufy contrasts the foreground landscape comprised of erratic and curved lines with the vertical geometric lines of the towering houses. Revealing his fascination with the powerful effects of strong colour within the present work, Dufy combines iconic imagery with a unique painterly style: 'In the Vence and Saint-Jeannet landscapes, in which architecture yields completely to natural forms, we discern an admirable process of simplification taking place. Dufy painted in all tones with equal ease and pleasure, he loved all colours alike. But deeming their harmony to depend largely on the subject, he saw no point in departing from the dominant features of nature' (Jacques Lassaigne, Dufy: Biographical and Critical Studies, New York, 1954, p. 38-40).