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Raoul Dufy (1877-1953)
THE PERSONAL COLLECTION OF BARBARA LAMBRECHT, SOLD TO BENEFIT THE RUBENS PRIZE COLLECTION IN THE MUSEUM OF CONTEMPORARY ART IN SIEGENChristie’s is honoured to offer the following selection of works from the personal collection of the esteemed philanthropist and patron of the arts, Barbara Lambrecht. Assembled over the course of nearly four decades, Ms Lambrecht’s collection features works by a diverse range of artists, from early compositions by the great painters of Impressionism, to the refined techniques of the Pointillists, and the free, expressionist colours of the Fauves. In this way, the collection offers an intriguing insight into one of the most dynamic and exciting periods of the European artistic avant-garde. Ms Lambrecht’s collecting journey began in the 1970s, when an early interest in Impressionism encouraged her to purchase paintings by Eugène Boudin, Raoul Dufy and Berthe Morisot. From here, her treasured collection has grown and evolved to encompass works by some of the most influential artists of the late Nineteenth and early Twentieth Centuries, including Claude Monet, Pierre-Auguste Renoir, Henri Matisse, Pablo Picasso and Paul Klee. This highly personal collection, shaped by Ms Lambrecht’s discerning vision and keen knowledge of art history, has filled the walls of the collector’s home for the past forty years. Considered together, the works reveal a series of intriguing connections to one another, their similarities and differences causing a dynamic dialogue to develop between each of the individual works in the collection. This is evident, for example, when Dufy’s portrayal of the northern coast of France is considered alongside Boudin’s painting of the same subject, or the contrasting painterly techniques of Monet’s loose, spontaneous compositions are observed beside Kees van Dongen’s highly saturated, impastoed areas of colour. One of the most striking features of the collection is the way in which the collection focuses on the pivotal periods in each artist’s career, often highlighting on a moment of transition as they begin to explore new, ground breaking techniques, subject matter or styles. Ms Lambrecht’s dedication to collecting has been paralleled by a prodigious journey in cultural philanthropy and patronage, as her passion for the arts has driven her to support a number of institutions in her native Siegen. Through her generous support, these bodies have become leaders in their respective fields, from the Philharmonic Orchestra Südwestfalen, to the city’s Apollo Theatre. Amongst her most remarkable and enduring charitable projects is her commitment to the Museum of Contemporary Art, Siegen, and her promotion of the Peter Paul Rubens Prize. Founded in 1955, the same year as the documenta in Kassel, this highly acclaimed international award is presented every five years to a contemporary artist living in Europe, to honour his or her lifetime achievements in art. Presented in remembrance of Peter Paul Rubens, who was born in Siegen, previous recipients include Giorgio Morandi, Francis Bacon, Antoni Tápies, Cy Twombly, Sigmar Polke, Lucian Freud, Maria Lassnig and Bridget Riley. To support the award, Ms Lambrecht founded the Rubens Prize Collection, acquiring comprehensive and exemplary groups of important paintings, sculptures and graphic pieces by each of the award’s former laureates, and then placing them on permanent loan to the Museum. Conceptually, the collection has been carefully curated so as to include works from each artist’s various creative phases, and continues to grow as it gathers examples from each new recipient of the prize. Creating an impressive survey of twentieth- and early twenty-first-century European art, from the quiet still-lifes of Morandi, and Riley’s iconic explorations of line and colour, to Bacon's emotionally charged figurative paintings and Maria Lassnig’s self-exploration of the human body, the Rubens Prize Collection offers visitors to the Museum of Contemporary Art in Siegen an in-depth look into the work of the acclaimed artists honoured by the city. With the sale of this outstanding group of impressionist and early modernist works, Ms Lambrecht plans to ensure the continued growth and evolution of the Rubens Prize Collection, and to secure its future for the enjoyment of subsequent generations in Siegen and throughout Europe.
Raoul Dufy (1877-1953)

14 juillet

Raoul Dufy (1877-1953)
14 juillet
signed 'Raoul Dufy' (lower left)
oil on canvas
18 1/8 x 15 1/8 in. (46 x 38.3 cm.)
Painted in 1906
Charles Malpel, Toulouse, 1907.
Private collection, France.
Alphonse Bellier, Paris, by 1951 and until at least 1966.
Schröder und Leisewitz, Bremen.
Acquired from the above by the present owner in 1979.
C. Malpel, Notes sur l'art d'aujourd'hui et peut-être de demain, Paris, 1910, p. 155 (illustrated p. 153).
P. Courthion, Raoul Dufy, Geneva, 1951, no. 25, p. XVIII (illustrated pl. 25).
J. Leymarie, Fauvism, Geneva, 1959, pp. 21a, 25 & 155 (illustrated p. 21a).
M. Laffaille, Raoul Dufy: Catalogue Raisonné de l'oeuvre peint, vol. I, Geneva, 1972, no. 212, p. 184 (illustrated).
A. Werner, Dufy, Paris, 1985, no. 11, p. 18 (illustrated).
(possibly) Paris, Salon d’Automne, October - November 1906, no. 514 or 515.
Toulouse, La Dépêche de Toulouse, Le Salon Toulousain, 1907.
Toulouse, Le Télégramme, Raoul Dufy, October 1908.
Geneva, Musée d'Art et Histoire, Raoul Dufy, June - September 1952, no. 2 (titled ‘La Rue pavoisée’).
Paris, Musée National d'Art Moderne, Raoul Dufy 1877-1953, June 1953, no. 14.
London, Tate Gallery, Raoul Dufy, January - February 1954, no. 29.
Basel, Kunsthalle Basel, Raoul Dufy, April - June 1954, no. 7.
Lyon, Musée de Lyon, Raoul Dufy, June - November 1957, no. 9.
Schaffhausen, Museum zu Allerheiligen, Triumph der Farbe: Die europäischen Fauves, July - September 1959, no. 49 (illustrated; titled '14. Juli in Le Havre'); this exhibition later travelled to Berlin, Nationalgalerie, September - November 1959.
Paris, Galerie Charpentier, Les Fauves, 1962, no. 48 (illustrated).
Nice, Galerie Ponchettes, Hommage à Raoul Dufy, March 1963, no. 6, p. 10 (illustrated pl. V).
Tokyo, National Museum, Les Fauves, September - October 1965, no. 23 (illustrated).
Paris, Musée National d'Art Moderne, Le Fauvisme français et les débuts de l'Expressionnisme Allemand, January - March 1966, no. 38, p. 76 (illustrated pl. 82; titled ‘Rue pavoisée/Beflagte Straße’); this exhibition later travelled to Munich, Haus der Kunst, March - May 1966.
Recklinghausen, Städtische Kunsthalle, Variationen, June - July 1966, no. 240 (illustrated).
Hamburg, Kunstverein, Raoul Dufy, December 1967 - February 1968, no. 14 (illustrated fig. 28; titled ‘Der 14. Juli in Le Havre’); this exhibition later travelled to Essen, Museum Folkwang, February - April 1968.
Munich, Haus der Kunst, Raoul Dufy, June - September 1973, no. 11 (illustrated; titled 'Der 14. Juli in Le Havre’).
Lausanne, Fondation de l'Hermitage, De Cézanne à Picasso, June - October 1985, no. 57, p. 162 (illustrated).
Martigny, Fondation Pierre Gianadda, Raoul Dufy, January - June 1997, no. 9, p. 191 (illustrated p. 31).
Lyon, Musée des Beaux-Arts, Raoul Dufy, January - April 1999, no. 17 (illustrated); this exhibition later travelled to Barcelona, Museu Picasso, April - July 1999.
Paris, Musée d'Art Moderne de la Ville de Paris, Le Fauvisme ou “l'epreuve de feu”, October 1999 - February 2000, no. 76, p. 200 (illustrated).
Barcelona, Fundació Caixa Catalunya, Les Années Fauves, 1904-1908, October 2000 - January 2001, no. 18, pp. 84 & 231 (illustrated p. 85).

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Laetitia Pot
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Lot Essay

Executed in a rhapsody of delicate pastel hues, Raoul Dufy’s 14 juillet forms part of an important series of paintings created by the artist in 1906 focusing on the theme of the rue pavoisée, in which the streets were decorated with flags and bunting for the exuberant festivities of Bastille Day. Indeed, 14 juillet captures a sense of the excitement and joyous atmosphere that coincided with the transformation of the boulevards of Le Havre, where Dufy spent the summer of that year, working alongside his friend and fellow Fauvist, Albert Marquet. The 14th of July had only been designated a French national holiday in 1880, and so was still a relatively new celebration at the beginning of the Twentieth Century, eliciting great excitement amongst the public and encouraging such enthusiastic, patriotic decorations to spring up in towns across the country. Focusing on the view from the window of the artist’s hotel room, the street appears festooned in flags, the distinctive colour combination of the tricolour hanging from every available pole on the thoroughfare. These, along with the celebratory banners, enliven the street scene into a festive spectacle, as Dufy imbues each flag in the composition with its own distinct character. Their prominent position and carefully choreographed movement allow these flags to become the main protagonists of the composition, their sense of individuality conveyed through their nuanced shape and the ways in which their edges are caught by the fluttering breeze.

The scenes of the rue pavoisée provided Dufy with an opportunity to experiment with a more highly saturated colour palette in his compositions, inspired by the art of Henri Matisse, André Derain and the Fauves. The repetition of rich blue, white and vibrant red lends the street a dynamic visual rhythm, while Dufy’s simplification of form and use of subdued tones in the surrounding building facades allows the colours of the flags to come alive. However, the composition also owes a debt to Claude Monet’s Rue Saint-Denis, fête du 30 juin 1878, which Dufy most likely saw at the home of Rouen collector François Depeaux. Depeaux had recently purchased a Sainte-Adresse beach scene by Dufy from 1904, which he later donated to the Rouen Musée des Beaux-Arts along with the Monet. Like Monet’s painting, Dufy’s composition presents a distanced vision of the urban celebration, recorded from a window above rather than from the midst of the festivities. The Le Havre scene is a more subdued affair in comparison with that of Rue Saint-Denis though, as revellers stroll through the streets in a relaxed manner, gathered in small groups or on their own, but not crowded together in a heaving, bustling street. In the foreground of the composition, two of the revellers are glimpsed through the semi-transparent fabric of the foremost flag, which bathes them in its bright, vibrant colours and roots them in the joyous sense of celebration that Dufy experienced on the streets of Le Havre that day.

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