ÉMILE OTHON FRIESZ (1879-1949) LA SEINE À PARIS,... Lot 20

ÉMILE OTHON FRIESZ (1879-1949) LA SEINE À PARIS, LA TOUR EIFFEL, LE JOUR Oil on canvas laid on panel Signed lower left Oil on canvas laid on panel; signed lower left 46,5 X 38,3 CM - 18 1/4 X 15 1/8 IN. This work will be included in Tome II of the catalogue raisonné of Émile Othon Friesz, which is currently being prepared by Madame Odile Aittouares. The work is registered in the archives for the catalogue raisonné Tome II of the painted works of Émile Othon Friesz under number 11272. A certificate of inclusion from Madame Odile Aittouarès, dated 8 February 2011, will be given to the buyer. PROVENANCE Paris, Galerie Raymonde Cazenave. Mr. William Rand Collection. Sale, Christie's New-York, 19th and 20th Century Art from the Collection of Mr. William Rand sold to benefit The Jewish Museum, New-York, 19 February 1998, lot 9. Sale, Doyle, New-York, 7 November 2007, lot 96. Private collection, USA. Sale, Sotheby's London, London, 9 February 2011, lot 144. Acquired in this sale by the present owner. Private collection, Germany. RELATED WORK Emile Othon Friesz (1879-1949), The Seine in Paris, Pont de Grenelle, 1901, oil on canvas, 46 x 33 cm, Glasgow City Council, Kelvingrove. "It is logical that, like Matisse, Vlaminck, Derain and the others, he [Othon Friesz] was led, by taste, by a desire for purity, to arm himself only with tones spread out on the canvas as they come out of the tube, in order to express himself through the sole play of complementarity and constraints. The Neo-Impressionists had already made some progress in this direction. But they were still working on reproducing motifs directly observed in nature and restored analytically, in the painting, in accordance with their appearance more or less modified by lighting. Friesz and his friends would no longer submit to the necessity, undisputed by the Impressionists and their followers, of imitating sunlight; it would suffice for them to obtain its equivalence; they believed in pictorial light, in coloured orchestration; expressing a moving conception of the world was their goal, first and foremost, and no longer incidentally. They transpose, they synthesize. It is the artist, the poet at the forefront, and no longer some chosen aspect of the objective world. [...] With the landscape of the Eiffel Tower, he once again achieves what could be expected of Impressionism in terms of the vibration of light, with, moreover, a use of the most strident pure colours that are at the same time perfectly tuned, which clearly announces Fauvism and finally explains its genesis." Maximilien Gauthier, Othon Friesz, Pierre Cailler, Geneva: 1957, pp. 48 and 149.