In search of the most innovative forms and colors, Pierre Maurs collected works by avant-garde artists such as the Fauves and the 1900 generation.
Émile Othon Friesz (1879-1949), Le Port d’Anvers (The Port of Antwerp), 1906, oil on canvas bearing the signature’s seal in the lower left, 60 x 81 cm/23.62 x 31.38 in.
Pierre Maurs, a thriving gallery owner and collector with impeccable taste, brought together a varied yet coherent collection in which great works from the first half of the 20th century dialogued with Asian and traditional art. The highly successful sale netted a total result of €942,570.
First place, at €218,240, went to an early work by Othon Friesz: his 1906 Port d’Anvers (Port of Antwerp), enlivened by bold pink and green strokes. The painting has featured in many shows, from the 1959 monographic exhibition at the Musée Galliera to the memorable hang "The Fauve Landscape" at the Los Angeles County Museum of Art in 1990. His 1907 Jardin d'Éden (Garden of Eden), a preparatory study for Le Printemps (Spring), now in the Musée d'Art Moderne de la Ville de Paris, fetched €62,000 (oil on paper mounted on canvas, 79.5 x 98 cm/31.3 x 38.6 in.).
Maurice de Vlaminck’s signed 1908 Péniches sur la Seine (Barges on the Seine, 60 x 73 cm/23.6 x 28.7 in), accompanied by the Wildenstein Institute’s notification of inclusion in the catalogue raisonné of his work, found a buyer at €189,720. Maurs also liked Asian art: his fantastic album of 30 Indian paintings on the love between Amar Chattar and Sundari Virda fetched €106,640. Made with polychrome pigments and gold on paper, these “Provincial Mughal” miniatures from the first quarter of the 17th century were bound in a European morocco cover (24 x 17 x 1 cm/9.44 x 6.7 x 0.4 in).