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Emile Othon Friesz

France (Le Havre 1879 -  Paris 1949 )
FRIESZ Emile Othon Nature Morte Aux Anémones

Sotheby's
Mar 28, 2019
Find artworks, auction results, sale prices and pictures of Emile Othon Friesz at auctions worldwide.
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Variants on Artist's name :

Friesz Othon-Emile

Friesz Achille Emile Othon

Friesz Émile Othon

 

Along with Emile Othon Friesz, our clients also searched for the following authors:
Charles Camoin, Salvador Dali, Constantin Terechkovitch, Ferdinand Gehr, Mikhail Larionov, Rene Victor Auberjonois, Viktor Vasarhely
Artworks in Arcadja
1352

Some works of Emile Othon Friesz

Extracted between 1,352 works in the catalog of Arcadja
Emile Othon Friesz - La Colline, Toulon

Emile Othon Friesz - La Colline, Toulon

Original 1923
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Gross Price
Lot number: 473
Other WORKS AT AUCTION
Description:
LA COLLINE, TOULON Emile Othon Friesz 1879 - 1949 signed E Othon Friesz and dated 23 (lower left); signed E Othon Friesz, titled La Colline : Toulon and dated 1923 (on the reverse) oil on canvas 38,8 x 55,7 cm; 15 1/4 x 21 7/8 in. Painted in 1923. Private collection, France Thence by descent to the present owner
Emile Othon Friesz - Nature Morte Aux Anémones

Emile Othon Friesz - Nature Morte Aux Anémones

Original
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Gross Price
Lot number: 309
Other WORKS AT AUCTION
Description:
PROPERTY FROM A PRIVATE PARISIAN COLLECTION Émile-Othon Friesz NATURE MORTE AUX ANÉMONES Junior Cataloguer Contemporary Art Émile-Othon Friesz 1879-1949 signed EOthon Friesz (lower right) watercolour and pencil on paper 46 x 38 cm; 18 1/8 x 14 1/8 in. Read Condition Report Register or Log-in to view condition report Or Provenance Sale: Hôtel Martinez, Cannes, 30 décembre 2005, lot 241 Acquired at the above sale and thence by descent to the present owner
Emile Othon Friesz - A Lady In The Kitchen

Emile Othon Friesz - A Lady In The Kitchen

Original
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Net Price
Lot number: 22
Other WORKS AT AUCTION
Description:
22 Emile Othon Friesz (1879 - 1949): A Lady in the Kitchen Crayon on brown paper, with the artist's stamp lower left, with a sketch on the reverse. 10 1/4 x 7 1/4 in. (sheet), 19 x 15 in. (frame). 11 1/8 x 7 1/2 in. Provenance:Galerie J. Chapelin, Paris Condition: A split at the lower left corner. Staining and some surface soiling.
Emile Othon Friesz -  Sommerlandschaft Mit Weg Und Häusern

Emile Othon Friesz - Sommerlandschaft Mit Weg Und Häusern

Original 1905
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Gross Price
Lot number: 1081
Other WORKS AT AUCTION
Description:
Emile Othon Friesz (Le Havre 1879 – 1949 Paris) Sommerlandschaft mit Weg und Häusern. Um 1905 Aquarell auf Papier (aus einem Skizzenblock). 36,3 × 25,1 cm ( 14 ¼ × 9 ⅞ in.). Unten rechts sowie rückseitig mit der Stempelsignatur in Schwarz. Rückseitig: Aktstudie. Kreide. [3174] HINWEIS: Telefonische Gebote sind für dieses Los nicht möglich. Emile Othon Friesz (Le Havre 1879 – 1949 Paris) Sommerlandschaft mit Weg und Häusern. Circa 1905 Watercolour on paper (from a sketch book). 36,3 × 25,1 cm ( 14 ¼ × 9 ⅞ in.). Stamped signature in black lower right as well as on the reverse. On the reverse: nude study. Chalk. [3174] PLEASE NOTE: Bidding by telephone is not possible for this lot.
Emile Othon Friesz - La Ciotat

Emile Othon Friesz - La Ciotat

Original 1907
Estimate:

Price:

Lot number: 182
Other WORKS AT AUCTION
Description:
LA CIOTAT Émile-Othon Friesz 1879 - 1949 Signed Othon Friesz(lower right) Oil on canvas 25 1/2 by 31 5/8 in. 65 by 80.5 cm Painted in 1907. Provenance Estate of the artist Mme Friesz, France (the wife of the artist; by descent from the above) Kaethe Perls, Paris Perls Galleries, New York (acquired after 1937) Cooper, Ostrin, Devarco & Ackerman,New York Acquired from the above in 1969 Exhibited Dallas, Dallas Museum for Contemporary Arts, Les Fauves, 1959, n.n. New York, Marlborough-Gerson Gallery, International Expressionism, 1968, no. 14, illustrated in the catalogue (dated 1905) Toronto, Art Gallery of Ontario,The Fauves, 1975, no. 26, illustrated in the catalogue (dated1905) New York, The Museum of Modern Art, \“The Wild Beasts:" Fauvism and Its Affinities, 1976, n.n. Los Angeles, Los Angeles County Museum of Art; New York, The Metropolitan Museum of Art & London, Royal Academy of Arts,The Fauve Landscape, 1990-91, no. 119, illustrated in color in the catalogue Nagoya, Aichi Prefectural Museum of Art; Kyoto, The National Museum of Modern Art & Tokyo, The National Museum of Modern Art,Fauvism and Modern Japanese Painting, 1992-93, no. 29, illustrated in color in the catalogue Sydney, Art Gallery of New South Wales & Melbourne, National Gallery of Victoria,Fauves, 1995, no. 54, illustrated in color in the catalogue Tel Aviv, Tel Aviv Museum of Art, Fauvism \“Wild Beasts," 1996, no. 38 London, The Courtauld Institute of Art, Fauve Painting 1905-7: The Triumph of Pure Color, 2001, n.n. Toronto, Art Gallery of Ontario (on loan) Literature Sarah Whitfield, Fauvism, London, 1991, no. 122, illustrated in color p. 144 Bernard Zürcher, Les Fauves, Paris, 1995, illustrated in color p. 173 The Courtauld Institute of Art, ed., The 20th Century at the Courtauld Institute Gallery, London, 2002, illustrated in color p. 39 Catalogue Note Émile-Othon Friesz\’s artistic development from 1905 to 1907 not only created a new form of Fauvism, which would come to be termed Le Havrais Fauves, but paved the way for a nascent form of abstraction. Friesz, alongside Raoul Dufy and Georges Braque, was struck in 1905 by the Salon d\’Automne exhibition showing the contemporary Fauve work of Henri Matisse and André Derain. Still largely painting in an Impressionist style, Friesz knew that the use of color and lyrical application of paint in Matisse\’s work would change the nature of painting forever. From as early as 1906 Friesz, Dufy and Braque began to paint the harbors and cityscapes of northern France in their own muted Fauve style (see fig. 1). In doing so, he eschewed the Impressionist teaching he had previously ascribed to and defined his compositions with a quicker application of paint in bolder colors. However, it was not until 1907 when the artist traveled to the southern coast of France that he could fully understand the underpinning philosophy of the Fauve movement. 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 theircolleagueshad done before, that their color was fully liberated from the atmospheric and the impressionist and theirFauve styles were fully established" (John Elderfield,Fauvism and its Affinities, New York, 1976, p. 79).In a series of works painted in La Ciotat, Friesz was able to fully master his new artistic direction. Specifically drawn to the mountainous cove of the Bec de l\’Aigle (Eagles Peak), Friesz rendered at least five versions of the view using a vivid palette dominated by orange, ochre-green and red. In these works Friesz "abandoned all sense of naturalism in favor of an expressive gestural style characterized by sweeping curvilinear brushwork and layers of pigment...with strongly abstract motifs" (Judi Freeman, ed., The Fauve Landscape, New York, 1990, p. 235).
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