CHARLES CAMOIN (Marseille 1879–1965 Paris) Voilier à quai dans le port de Marseille. Circa 1905. Oil on canvas. Signed lower right: Ch. Camoin. 54 × 65 cm. We would like to thank the Archives Camoin for confirming the authenticity of the work, February 2022. Provenance: - Franz Edouard Lüthy collection, Le Havre, probably acquired directly from the artist around 1905. - Swiss private collection, by descent from the above over several generations to the the present owners and since its acquisition owned by the same family. Exhibited: - Le Havre 1908, Exposition Cercle de lArt Moderne, Le Havre, June 1908, no. 99 (titled "Port de Marseille"). - Paris 2012/13, Le Cercle de lArt Moderne. Collectionneurs davant-garde au Havre, Musée du Luxembourg, Paris, 19.9.2012–6.1.2013, no. 75 (with ill. cat. p. 195). Charles Camoins affiliation with the Fauve painters stemmed from his friendship with Henri Matisse and Albert Marquet. Inspired by the Fauvist explosions of colour and influenced by Cézanne, with whom he was in close correspondence, Camoin soon discovered his distinctive impressionistic style. Between 1904 and 1906, Camoin travelled with Manguin and Marquet along the southern coast of France to capture impressions of the light-filled, vibrant and intensely atmospheric coastal landscapes. The present painting "Voilier à quai dans le port de Marseille" is a significant work from that style-defining period and brilliantly demonstrates Camoins unique Fauvist style. The artists use of pastel colours, as seen in the rendering of the citys silhouette, reveals a nuanced treatment of colour tones. Unlike his Fauvist colleagues, who favoured strong, expressionist contrasts of colour, Camoin relies here on a modelled aesthetic that brings the effects of light to the fore. The deep azure of the water in the harbour contrasts with the sfumato handling of the violet-mauve shimmering sky above, thus recalling impressionistic models. The two paintings "Nu couché au miroir" (lot 3238) and the present work "Voilier à quai dans le port de Marseille" once belonged to Franz Edouard Lüthy (1847-1919), a coffee merchant from Switzerland who lived in Le Havre. He was a member of the "Société des Amis des Arts du Havre”, and together with renowned collectors such as Charles-Auguste Marande, Pieter Van der Velde, Georges Dussueil and Olivier Senn, co-founded the "Cercle de lart moderne" in 1906. This association of business magnates, members of the citys fashionable society and contemporary artists was dedicated to promoting and exhibiting painters who were still local at that time, such as Braque, Dufy and Friesz. Guillaume Apollinaire, Claude Debussy and Frantz Jourdain supported the group, which was associated with the newly founded Salon dAutomne from the beginning. From 1906 to 1910, the Cercle organised annual exhibitions featuring works by the young Fauves, including Matisse, Derain, van Dongen, Vlamick, Manguin and, not least, Camoin. It was thanks to their commitment that Le Havre was considered to be the pulsating centre of the burgeoning artistic movement known as Fauvism. Both works were probably acquired by Lüthy directly from Camoin and have remained the property of his family to the present day, roughly 120 years later. CHARLES CAMOIN (Marseille 1879–1965 Paris) Voilier à quai dans le port de Marseille. Um 1905. ?l auf Leinwand. Unten rechts signiert: Ch. Camoin. 54 × 65 cm. Wir danken dem Archives Camoin für**Best?tigung der Authentizit?t des Werks, Februar 2022. Provenienz: - Sammlung Franz Edouard Lüthy, Le Havre, um 1905, wohl direkt beim Künstler erworben. - Schweizer Privatsammlung, durch Erbschaft von Obigem über mehrere Generationen an**heutigen Besitzer und seit Erwerb im gleichen Familienbesitz. Ausstellung: - Le Havre 1908, Exposition Cercle de lArt Moderne, Le Havre, Juni 1908, Nr. 99 (unter dem Titel "Port de Marseille"). - Paris 2012/13, Le Cercle de lArt Moderne. Collectionneurs davant-garde au Havre, Musée du Luxembourg, Paris, 19.9.2012–6.1.2013, Nr. 75 (mit Abb. im Ausst. Kat. S. 195). Charles Camoins Anbindung an**Fauve-Künstler ergibt sich aus seiner freundschaftlichen Beziehung zu Henri Matisse und Albert Marquet. Getrieben von deren fauvistischen Farbexplosionen und durch den Einfluss Cézannes, mit dem Camoin in regem Briefkontakt steht, findet er bald seinen eigenen, unverwechselbaren impressionistisch angehauchten Stil. Zwischen 1904 und 1906 reist Camoin mit Manguin und Marquet entlang der südlichen Küste Frankreichs, um**Eindrücke der lichtdurchfluteten, vibrierenden und atmosph?risch aufgeladenen Küstenlandschaft festzuhalten. Das vorliegende Gem?lde "Voilier à quai dans le port de Marseille" ist ein signifikantes Werk jener Phase und demonstriert auf ingeni?se Weise Camoins individuell fauvistische Malerei. Sein Einsatz von Pastellfarben, beispielsweise bei der Gestaltung der Stadtsilhouette, vermittelt einen nuancierten Umgang mit den Farbt?nen. Anders als seine fauvistischen Kollegen,**kr?ftig expressionistische Farbkontraste bevorzugen, setzt Camoin hier dagegen auf eine modellierte ?sthetik,**Lichteffekte zum Vorschein bringt. Das satte Azurblau des Wassers in der Hafenbucht kontrastiert mit dem in Sfumato ausgeführten violett-mauve schimmernden Himmel über der Stadt und zitiert somit**impressionistischen Vorbilder. **beiden Gem?lde "Nu couché au miroir" (Los 3238) und das vorliegende "Voilier à quai dans le port de Marseille" geh?rten einst dem aus der Schweiz stammenden und in Le Havre ans?ssigen Kaffeeh?ndler Franz Edouard Lüthy (1847–1919). Er war Mitglied der ?Société des Amis des Arts du Havre“ und zusammen mit namhaften Sammlern wie Charles-Auguste Marande, Pieter Van der Velde, Georges Dussueil und Olivier Senn Mitbegründer des ?Cercle de l’art moderne“ im Jahr 1906. Dieser Zusammenschluss von Handelsmagnaten, Mitglieder der st?dtischen Hautevolee und zeitgen?ssischen Kunstschaffenden setzte sich zum Ziel, damals noch lokale Maler wie Braque, Dufy und Friesz zu f?rdern und auszustellen. Guillaume Apollinaire, Claude Debussy und Frantz Jourdain unterstützten**Gruppe,**von Anfang an mit dem neu gegründeten Salon dAutomne verbunden war. Von 1906 bis 1910 organisierte der Cercle Jahresausstellungen, in denen Werke der jungen Fauves, wie Matisse, Derain, van Dongen, Vlamick, Manguin und nicht zuletzt Camoin gezeigt wurden. Le Havre galt dank deren Engagement als pulsierendes Zentrum der aufkeimenden künstlerischen Bewegung des Fauvismus. Beide Werke wurden von Lüthy wohl direkt bei Camoin erworben und blieben bis heute, also rund 120 Jahre im Besitz seiner Familie.
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