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318

Raoul DufyNature morte au poulet et à la cafetière rouge Gouache und Aquarell auf Büttenpapier. 51 x

In Modern Art

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Raoul DufyNature morte au poulet et à la cafetière rouge Gouache und Aquarell auf Büttenpapier. 51 x
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Raoul Dufy
Nature morte au poulet et à la cafetière rouge

Gouache und Aquarell auf Büttenpapier. 51 x 66 cm. Unter Glas gerahmt. In der Darstellung unten links der Mitte mit Bleistift signiert 'Raoul Dufy'. - Der Bogen leicht wellig. Entlang der Ränder unten wie links verbräunt mit schmalem Lichtrand. - Rückseitig auf einem französisch überstempelten Papieraufkleber handschriftlich mit schwarzer Tinte bezeichnet "Abels Cologne".

Nicht bei Guillon-Laffaille; vgl. Guillon-Laffaille 1404 (Tuschezeichnung "Nature morte au poulet et à la cafetière")

Wir danken Fanny Guillon-Lafffaille, Paris, für freundliche ergänzende Auskunft. Die Arbeit ist dokumentiert und wird in den in Vorbereitung befindlichen Ergänzungsband zum "Catalogue raisonné des aquarelles, gouaches et pastels" von Raoul Dufy aufgenommen.

Provenienz
Sammlung René Drouet, Paris; Parke-Bernet Galleries Inc., Modern Paintings, 14th Annual Art Aucition of the United Jewish Appeal, New York, 12 June 1967, lot 54 mit Abb.;Twentieth Century Art, 2 July 1998, Lot 134 mit Farbabb.; Sammlung Klaus J. Jacobs, Zürich

Ausstellungen
Möglicherweise Galerie Abels, Köln (rückseitiger Papieraufkleber); Berlin/Stuttgart 1956 (Institut Francais Berlin/ Württembergischer Kunstverein), Raoul Dufy, möglicherweise jeweils Kat. Nr. 58 ("Stilleben mit Kaffekanne 1919")

Die Aufenthalte des Künstlers in Vence in den Jahren nach dem I. Weltkrieg initiieren einen neuen, veränderten Malstil. Flüssige Transparenz, leuchtende Farbigkeit und eine neue Freiheit in der Komposition und dekorativen Charakterisierung der Details kennzeichnen in deutlicher Zäsur seine Werke ab 1919. Gerne gesellt Raoul Dufy in der Farbanlage zu blauen und gelben Tönen markante rote Akzente. Das hier vorliegende großformatige Stillleben mit der Andeutung eines einfachen Mahls kontrastiert in naher Aufsicht gebratenes Geflügel auf einem blau-weissen Teller mit einer Filterkanne, die in ihrem satten Rot die Komposition beherrscht. Die Rundung des Objektes findet formale Ergänzungen in den betonten Kreisformen des Tellers und der Tasse mit Untertasse am oberen Bildrand wie auch in den weichen, malerischen Pinselschwüngen, mit der die Bildanlage nach unten ausschwingt. Hier werden kleinere Gegenstände wie das Besteck oder Gewürzschalen nurmehr angedeutet. Die Freiflächen des Blattes füllen kräftige malerische Pinselschraffuren, räumliche Andeutungen ergeben sich durch die Farbwirkung und die schwebende Aufsicht.
Um 1919 hatte Dufy das Motiv schon in einer Tuschezeichnung laviert (vgl. Guillon-Lafaille 1404 "Nature morte au poulet et à la cafetière"). In wenigen anderen Werken hatte er damals Stillleben mit Früchten und verschiedenen Glasgefäßen um die auffälligen und kräftigen Farben und Formen von Kaffee- und Teekannen bereichert.

Raoul Dufy
Nature morte au poulet et à la cafetière rouge

Gouache and watercolour on laid paper. 51 x 66 cm. Framed under glass. Signed 'Raoul Dufy' in pencil below the depiction lower left of the centre. - The sheet slightly wavy. Browning along the lower and left margins and with a narrow lightstain. - Handwritten inscription "Abels Cologne" in black ink verso on a paper label with a french stamp.

Not recorded by Guillon-Laffaille; cf. Guillon-Laffaille 1404 (India ink drawing "Nature morte au poulet et à la cafetière")

We would like to thank Fanny Guillon-Lafffaille, Paris, for friendly, complementary information. The work is documented and will be included in the forthcoming supplementary issue of the "Catalogue raisonné des aquarelles, gouaches et pastels" by Raoul Dufy.

Provenance
Collection René Drouet, Paris; Parke-Bernet Galleries Inc., Modern Paintings, 14th Annual Art Aucition of the United Jewish Appeal, New York, 12 June 1967, lot 54 with illus.;Twentieth Century Art, 2 July 1998, lot 134 with colour illus.; Klaus J. Jacobs Collection, Zurich

Exhibitions
Possibly Galerie Abels, Cologne (paper label verso); Berlin/Stuttgart 1956 (Institut Francais Berlin/ Württembergischer Kunstverein), Raoul Dufy, probably each cat. no. 58 ("Stilleben mit Kaffekanne 1919")

The artist's stays in Vence during the years after World War I initiated a new, altered style of painting. Following a clear break, from 1919 fluid transparency, luminous tonalities and a new freedom in composition and in the decorative characterisation of details typify his work. In terms of colour composition, Raoul Dufy liked to add striking accents of red to tones of blue and yellow. The present large-format, still-life sketch of a simple meal contrasts the close-up view of a fried chicken on a blue-and-white plate with a cafetière that dominates the composition with its intense red. The curves of this object are formally complemented by the decidedly circular forms of the plate as well as the cup and saucer at the upper edge of the picture and also by the soft-edged, painterly sweeps of the brush with which the composition fades out towards the bottom. Here smaller objects like the cutlery or spice bowls are merely suggested. The empty areas of the sheet are filled with bold and painterly brushed hatching; hints of three-dimensionality result from the effect of the colours and the hovering, elevated viewpoint.
Dufy had already depicted this motif in a pen-and-wash drawing from around 1919 (see Guillon-Lafaille 1404 “Nature morte au poulet et à la cafetière”). In a handful of other works from that time, he augmented still lifes featuring fruits and various glass vessels by adding the striking and bold colours and forms of coffee and tea pots.
Raoul Dufy
Nature morte au poulet et à la cafetière rouge

Gouache und Aquarell auf Büttenpapier. 51 x 66 cm. Unter Glas gerahmt. In der Darstellung unten links der Mitte mit Bleistift signiert 'Raoul Dufy'. - Der Bogen leicht wellig. Entlang der Ränder unten wie links verbräunt mit schmalem Lichtrand. - Rückseitig auf einem französisch überstempelten Papieraufkleber handschriftlich mit schwarzer Tinte bezeichnet "Abels Cologne".

Nicht bei Guillon-Laffaille; vgl. Guillon-Laffaille 1404 (Tuschezeichnung "Nature morte au poulet et à la cafetière")

Wir danken Fanny Guillon-Lafffaille, Paris, für freundliche ergänzende Auskunft. Die Arbeit ist dokumentiert und wird in den in Vorbereitung befindlichen Ergänzungsband zum "Catalogue raisonné des aquarelles, gouaches et pastels" von Raoul Dufy aufgenommen.

Provenienz
Sammlung René Drouet, Paris; Parke-Bernet Galleries Inc., Modern Paintings, 14th Annual Art Aucition of the United Jewish Appeal, New York, 12 June 1967, lot 54 mit Abb.;Twentieth Century Art, 2 July 1998, Lot 134 mit Farbabb.; Sammlung Klaus J. Jacobs, Zürich

Ausstellungen
Möglicherweise Galerie Abels, Köln (rückseitiger Papieraufkleber); Berlin/Stuttgart 1956 (Institut Francais Berlin/ Württembergischer Kunstverein), Raoul Dufy, möglicherweise jeweils Kat. Nr. 58 ("Stilleben mit Kaffekanne 1919")

Die Aufenthalte des Künstlers in Vence in den Jahren nach dem I. Weltkrieg initiieren einen neuen, veränderten Malstil. Flüssige Transparenz, leuchtende Farbigkeit und eine neue Freiheit in der Komposition und dekorativen Charakterisierung der Details kennzeichnen in deutlicher Zäsur seine Werke ab 1919. Gerne gesellt Raoul Dufy in der Farbanlage zu blauen und gelben Tönen markante rote Akzente. Das hier vorliegende großformatige Stillleben mit der Andeutung eines einfachen Mahls kontrastiert in naher Aufsicht gebratenes Geflügel auf einem blau-weissen Teller mit einer Filterkanne, die in ihrem satten Rot die Komposition beherrscht. Die Rundung des Objektes findet formale Ergänzungen in den betonten Kreisformen des Tellers und der Tasse mit Untertasse am oberen Bildrand wie auch in den weichen, malerischen Pinselschwüngen, mit der die Bildanlage nach unten ausschwingt. Hier werden kleinere Gegenstände wie das Besteck oder Gewürzschalen nurmehr angedeutet. Die Freiflächen des Blattes füllen kräftige malerische Pinselschraffuren, räumliche Andeutungen ergeben sich durch die Farbwirkung und die schwebende Aufsicht.
Um 1919 hatte Dufy das Motiv schon in einer Tuschezeichnung laviert (vgl. Guillon-Lafaille 1404 "Nature morte au poulet et à la cafetière"). In wenigen anderen Werken hatte er damals Stillleben mit Früchten und verschiedenen Glasgefäßen um die auffälligen und kräftigen Farben und Formen von Kaffee- und Teekannen bereichert.

Raoul Dufy
Nature morte au poulet et à la cafetière rouge

Gouache and watercolour on laid paper. 51 x 66 cm. Framed under glass. Signed 'Raoul Dufy' in pencil below the depiction lower left of the centre. - The sheet slightly wavy. Browning along the lower and left margins and with a narrow lightstain. - Handwritten inscription "Abels Cologne" in black ink verso on a paper label with a french stamp.

Not recorded by Guillon-Laffaille; cf. Guillon-Laffaille 1404 (India ink drawing "Nature morte au poulet et à la cafetière")

We would like to thank Fanny Guillon-Lafffaille, Paris, for friendly, complementary information. The work is documented and will be included in the forthcoming supplementary issue of the "Catalogue raisonné des aquarelles, gouaches et pastels" by Raoul Dufy.

Provenance
Collection René Drouet, Paris; Parke-Bernet Galleries Inc., Modern Paintings, 14th Annual Art Aucition of the United Jewish Appeal, New York, 12 June 1967, lot 54 with illus.;Twentieth Century Art, 2 July 1998, lot 134 with colour illus.; Klaus J. Jacobs Collection, Zurich

Exhibitions
Possibly Galerie Abels, Cologne (paper label verso); Berlin/Stuttgart 1956 (Institut Francais Berlin/ Württembergischer Kunstverein), Raoul Dufy, probably each cat. no. 58 ("Stilleben mit Kaffekanne 1919")

The artist's stays in Vence during the years after World War I initiated a new, altered style of painting. Following a clear break, from 1919 fluid transparency, luminous tonalities and a new freedom in composition and in the decorative characterisation of details typify his work. In terms of colour composition, Raoul Dufy liked to add striking accents of red to tones of blue and yellow. The present large-format, still-life sketch of a simple meal contrasts the close-up view of a fried chicken on a blue-and-white plate with a cafetière that dominates the composition with its intense red. The curves of this object are formally complemented by the decidedly circular forms of the plate as well as the cup and saucer at the upper edge of the picture and also by the soft-edged, painterly sweeps of the brush with which the composition fades out towards the bottom. Here smaller objects like the cutlery or spice bowls are merely suggested. The empty areas of the sheet are filled with bold and painterly brushed hatching; hints of three-dimensionality result from the effect of the colours and the hovering, elevated viewpoint.
Dufy had already depicted this motif in a pen-and-wash drawing from around 1919 (see Guillon-Lafaille 1404 “Nature morte au poulet et à la cafetière”). In a handful of other works from that time, he augmented still lifes featuring fruits and various glass vessels by adding the striking and bold colours and forms of coffee and tea pots.

Modern Art

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