Achille-Émile Othon Friesz Drawings and Watercolor Paintings

Gorgeous mid century fauvist watercolor landscape with lush, vivid trees and distant houses by Emily Shotwell Goeller-Wood (American, 1887-1965). Presented in a rustic giltwood frame...

Bright and bold shipyard by an unknown artist. Presented in a new cream mat. Paper size: 10.25"H x 14.25"W; Mat size: 13"H x 18"W

Louis Valtat Young Girl Stamped with initials lower right Pencil on brown paper Sight 7 x 6 inches Provenance: Mrs. Ernest M. Werner, New York Private Collection, Rhode Island Loui...

"Pueblos" - Hand-Augmented Fauvist Landscape in Ink and Pastel on Paper Bold and saturated depiction of pueblo buildings by Margie Dickson (American, b. 1938). These buildings are h...

Brightly colored Fauvist coastal landscape of a vivid purple cypress tree at the edge of the water, under a bright yellow sky and orange sun by Karen Druker (American, 1945). Signed ...

Vivid, imaginative colors whirl and swirl together to form this whimsical Fauvist abstracted landscape watercolor, featuring a beautiful weeping willow tree...

Andre Derain (French, 1880 – 1954) Saint Black crayon Signed with atelier stamp (lower right) 15.1/8 x 9.1/2 in. (38.3 x 24 cm.) André Derain (10 June 1880 – 8 September 1954) was a...

Green Nude Woman's Torso in Watercolor on Paper Vibrant nude torso watercolor by artist David Stephens (American, 20th century). A nude woman with arms raised is shown against a viv...

Group of two drawings. "Femme assise sur une Chaise," circa 1910. Brush and ink on wove paper, 8 1/2x8 inches. With the artist's initials ink stamp, lower right recto. "Femme avec ...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red and butterflies in blues, yellows, black and white. This work was executed by Dufy as a fabric design. Dimensions: Framed: 17"x27" Unframed: 10"x20" Provenance: Private collection of works by Raoul Dufy for Bianchini Ferier Bianchini Ferrier Collection - Christie's London - July 2001 SF Fall Show Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

Brightly colored landscape of a cabin in the woods by Karen Druker (American, 1945). Signed "Druker" in the lower right corner. Presented in a cream mat. No frame. Image size: 30"H x...

1970s fauvist watercolour of a forest glade by Belgian artist André Pierard. Not signed but acquired from his estate along with others of his works. A be...