Raoul Dufy (1877-1953), L’Amour, woodcut, 1910, signed in pencil lower right and annotated “a J. E. Laboureur”, printed on a chine appliqué, in adequate condition apart from small creases mostly in margins, a stain and associated thin spot lower left.  Printed apart from the early edition of 100 which were signed and numbered by Dufy (there was also a later edition unsigned and estate stamped); this is probably a proof apart from the initial edition of 100 reserved for the artist (which he then gave to Laboureur).  Impressions from the original edition are now rare.  11 7/8 x 12 1/2, the sheet 17 3/8 x 20 1/2 inches.

A very good impression of this important woodcut.

It is quite fitting that we find Dufy inscribing this woodcut to Jean-Emile Laboureur (1877-1943). Laboureur and  Dufy were contemporaries (born in the same year, 1877), and both were influenced by similar currents of modernism, including  the adaptation of the woodcut technique to modern art (particularly the example of Vallotton’s woodcuts), and of course Cubism.  Dufy had an early exposure to Cubism (in 1908, working with Braque at L’Estaque, near Marseilles); Laboureur created his unique adaptation of the Cubist idiom a few years later.

L’Amour is one of a set of woodcuts Dufy made on his return in 1910 from a visit to Munich; observers have noted that it shows evidence of his being inspired by the German Expressionists.  But largely because of its date and Dufy’s involvement with the Fauvists, L’Amour can be seen as an important example of Fauvist woodcutting. The set of woodcuts was exhibited at the Salon d’Automne of 1910.

Detail

Raoul Dufy (1877-1953), Baigneuse Devant un Port (Sainte Adresse), lithograph, c. 1920, signed and inscribed “a Gin + Freddy Homberger”, an artist’s proof outside of the edition of circa 50, on a J Perrigot Arches wove paper with their watermark, in very good condition, the full sheet (slight soiling upper margin edge, tiny repaired tear upper edge), 20 1/2 x 14 1/2, the sheet 24 3/4 x 20 inches, archival matting.

Provenance: collection of Dr. and Mrs. Freddy and Regina T. Homburger, purchased directly from the artist. The Homburgers were distinguished collectors of modern art.

A fine strong impression of this large figure, with the buildings of the port in the background; this is an excellent representation of Dufy’s skill as a draftsman, and fine example of his early work in lithography.

The scene is the beach at Le Havre, a favorite location for Dufy.