- 185
Émile Othon Friesz
Estimate
150,000 - 250,000 USD
bidding is closed
Description
- Émile Othon Friesz
- Paysage de Cassis
- Signed E. Othon Friesz and dated Cassis 1910 (lower left)
- Oil on canvas
- 25 5/8 by 31 7/8 in.
- 65.5 by 81.2 cm
Provenance
Galerie Pétridès, Paris
Acquired from the above in 1966
Acquired from the above in 1966
Exhibited
Paris, Galerie Druet, Exposition des peintures de Othon Friesz, 1910
Paris, Galerie Pétridès, Othon Friesz, 1964, no. 14, illustrated in the catalogue
Paris, Pavillon des Arts, Guillaume Apollinaire, Critique d'Art, 1993, no. 49, illustrated in the catalogue
Roubais-La-Piscine, Musée d'art et d'industrie Andre Diligent; Ceret, Musée d'art moderne & Le Havre, Musée Malraux, Othon Friesz, Le fauve baroque, 1869-1949, 2007-08, no. 108, illustrated in the catalogue
Paris, Galerie Pétridès, Othon Friesz, 1964, no. 14, illustrated in the catalogue
Paris, Pavillon des Arts, Guillaume Apollinaire, Critique d'Art, 1993, no. 49, illustrated in the catalogue
Roubais-La-Piscine, Musée d'art et d'industrie Andre Diligent; Ceret, Musée d'art moderne & Le Havre, Musée Malraux, Othon Friesz, Le fauve baroque, 1869-1949, 2007-08, no. 108, illustrated in the catalogue
Literature
Robert Martin & Odile Aittouarès, Émile Othon Friesz, L'Oeuvre peint, vol. I, Paris, 1995, no. 293, illustrated p. 130
Condition
Canvas has been lined. Pigments are fresh and bright and the areas of impasto are well-preserved. Under UV: a couple of minor spots of in-painting along the extreme upper edge and in the lower right corner. There are two smaller spots of in-painting to the sky, above the steeples. This work is in overall 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The Havrais painter Friesz was one of the last artists to join the Fauve movement. In 1905, he was still painting in an essentially Impressionist manner, and it was only on a trip to Antwerp in 1906 with Georges Braque that Friesz made the dramatic leap towards the Fauve palette and technique that he had so admired during the seminal Salon d'Automne the previous year. John Elderfield states: "In 1906, Braque and Friesz were not even at the stage of colorful subjects... It was only when the pair traveled south, as their colleagues had done before, that their color was fully liberated from the atmospheric and the Impressionist and their Fauve styles were fully established" (John Elderfield, Fauvism and Its Affinities, New York, 1976, p. 79).