CATALOGUE  

10. PAINTINGS

408   UNKNOWN ARTIST
View of a castle - screen
Embroidery embellished with coloured beads, measurements of embroidered panel 67 x 54 cm, height of screen 127 cm, carved and veneered wood frame, decorated with a simple carved rocailles at the top, on four feet, undated [late 19th century], unmarked. The veduta is surrounded by an ornament reminiscent of late Baroque or Rococo, the design is composed of abstract motifs of scrolls, plant tendrils and coloured flowers.
Photograph(9 000 - 12 000)6 000 CZK
(300 - 400) 200 EUR
 
409   UNKNOWN ARTIST
Chestnut stallion
Oil on canvas, 24 x 40,5 cm, framed, undated, unsigned. This painting, rendering one of the artist's favourite subjects, has a character of a sketch and reflects his observation talent. The volume of the depicted animal is modelled in vivid brushwork and stands out in contrast with the somewhat flat background.
Photograph(40 000 - 60 000)25 000 CZK
(1 333 - 2 000) 833 EUR
 
410   UNKNOWN ARTIST
Shepherds in a mountainous landscape
Oil on canvas, 36 x 48 cm, framed, undated [late 18th century], unsigned, relined. This painting is an example of the late Baroque treatment of landscapes but already revealing some Rococo features. The classic landscape pictures individual motifs (e.g. rocks, river, waterfall), and the impressive skies together with loose brushwork and the delicate quality of the scene refer to the Rococo period.
Photograph(35 000 - 45 000)25 000 CZK
(1 167 - 1 500) 833 EUR
 
411   UNKNOWN ARTIST
Scenes from the life of Christ and the Bible
Oil on canvas, 60 x 90 cm, undated [18th century], unsigned, relined in 1925 (Jan Mikule, 1873 - 1934). This painting was originally in the collection of the well-known Czech bandmaster František Kmoch. It is a votive Baroque painting - given to a church by vow, or in fulfilment of a vow or promise. In the corners are figures of donators, the remaining surface of the canvas depicts different religious subjects. In the centre in the upper part is the main scene - The Crucifixion. The composition oval shows episodes which took place between Christ's entry to Jerusalem and his Entombment - the Passion. There are also scenes from the Old Testament - scenes with Adam and Eve and Moses. The use of chiaroscuro refers to the Baroque while the style of clothes of the donators and the ornament correspond to the late Baroque of the 18th century.
Photograph-P-(22 000 - 28 000)15 000 CZK
(733 - 933) 500 EUR
 
412   UNKNOWN ARTIST  (18th century, BOHEMIA, KOLÍN REGION)
The Virgin Mary - Adoration of the Shepherds
Oil on canvas, 61 x 49 cm, framed, undated [18th century], unsigned, relined. This lot is a devotional painting rendering the theme of the Adoration of the Shepherds. The figure of the Blessed Virgin is situated in the centre illuminated by the main stream of light. The subtle treatment of staffage together with the contrasts of bright colours and shades of brown are characteristic of the Rococo. The painter still employed Baroque chiaroscuro but in a lyrical and no longer dramatic style.
Photograph-P-(36 000 - 42 000)30 000 CZK
(1 200 - 1 400)1 000 EUR
 
413   UNKNOW ARTIST
The Virgin Mary
Oil on canvas, 95 x 75 cm, framed, undated [second half of the 18th century], unsigned, relined. Provided with an expertise on the painting technique. This painting is a typical example of the style and painting technique from the period of the turn of the Baroque into the Rococo. The symbolic gestures and the treatment of the heavy drapery correspond to the late Baroque while the miniature proportions and stress on sentiment refer to the Rococo period. The painting is executed on a bolus ground giving the colours warmth, plasticity is accentuated by the contrast of chiaroscuro and illuminated volumes.
Photograph-P-(65 000 - 80 000)50 000 CZK
(2 167 - 2 667)1 667 EUR
 
414   UNKNOWN ARTIST  (17th century)
The Virgin Mary with Child and Saint John the Baptist
Oil on canvas, 71 x 54 cm, framed, undated [beginning of the 17th century], unsigned, relined. This lot is an example of the mature Baroque style with characteristic treatment of light and shade. The physiognomy reflects a somewhat naive simplicity, which was a common feature of paintings rendering religious subjects in those days. The distinctive gestures are derived from the "radical Baroque", but the scene as a whole already gives an impression of harmony. The painting "communicates" with the viewer through the fixed look of the infant Jesus.
Photograph-P-(430 000 - 500 000)350 000 CZK
(14 333 - 16 667)11 667 EUR
 
415   MONOGRAMIST I. H.
Landscape with a wind-mill at night
Oil on canvas, 21 x 41 cm, framed, glazed, dated 1887, signed lower right with initials. This painting is an example of historicizing trends of the 19th century, and it is a reminiscence of Dutch Baroque landscape paintings in terms of both the subject and composition. The painting incorporates characteristic features of Dutch landscapes, e.g. a wind mill and delicately atmospheric high skies. This treatment of landscapes was revived during the period of Romanticism, when some subjects (e.g. night scenery) gained new symbolic meanings.
Photograph(23 000 - 28 000)16 000 CZK
(767 - 933) 533 EUR
 
416   VORSTER K.  (turn of the 19th century, GERMANY)
Still-life with fruit
Oil on canvas, 65 x 100 cm, framed, undated [turn of the 19th century], signed lower left and inscribed München. This still-life with fruit and vessels placed on a drapery and a neutral background is reminiscent of Baroque still-lifes, which is also apparent in the use of chiaroscuro.
Photograph(12 000 - 16 000)8 000 CZK
(400 - 533) 267 EUR
 
417   UNKNOWN ARTIST
Still-life with fruit
Oil on canvas, 24 x 30 cm, framed, undated [turn of the 18th century], unsigned. Provided with an expertise on the painting technique. This still-life reflects the sober style of the turn of the 18th century. The treatment of light no longer refers to the Baroque, and great attention is paid to precise rendition of details. Forms are mostly defined linearly; the background is not clearly defined letting the objects in the foreground draw attention.
Photograph(58 000 - 68 000)48 000 CZK
(1 933 - 2 267)1 600 EUR
 
418   UNKNOWN ARTIST
Fishemen's huts
Oil on canvas, 66 x 96 cm, framed, undated [circa 1900], illegible signature lower right. The painting is an example of the employment of Pointillist techniques at the turn of the 19th century and has the qualities of a painting executed in the open air, characteristic of Impressionism. The colour quality of the painting is strengthened by the use of pure tones of colour devoid of modulation with black.
Photograph(120 000 - 150 000)75 000 CZK
(4 000 - 5 000)2 500 EUR
 
419   DE COONING  (FRANCE)
Portrait of a child
Oil on canvas, 40 x 32 cm, framed, undated [turn of the 19th century], signed lower left together with inscription K. D. P. Greuze (painted after a picture by Jean Baptiste Greuze 1725 - 1805). This lot is a good copy of a painting by the French painter J. B. Greuze, active in the period of late Rococo and the advent of neo-Classicism. He is known as a history painter, often rendering Classical subjects, and is also known for his genre paintings, moralities and charmingly tender studies of children. His genre scenes are often set in contemporary realistic setting, reflecting the milieu of townspeople. This painting shows a variety of Rococo and neo-Classicist features, the dynamic brushwork suggesting movement is reminiscent of the Baroque while the dress of the child and informal atmosphere correspond to contemporary art tendencies of the Enlightment period.
Photograph(38 000 - 45 000)30 000 CZK
(1 267 - 1 500)1 000 EUR
 
420   CENTO Pietro  (19th century, ITALY)
View of Venice
Oil on canvas, 82 x 105 cm, framed, dated Venecia 1898, signed lower left. The painter rendered a popular view of Venice in a different manner than was common in the period of the so-called "Golden Age of Venetian Veduta" in the 18th century. The difference lies in the handling of the paint matter and the treatment of colour. The colours in this painting reflect the light conditions of the given time of the day (e.g. shades of yellow and pink on the architecture); changing the local colour of forms, the scene is executed in loose brush strokes leaving distinctive traces in the impasto. This painting dates from the late 19th century and is stamped with the influence of Impressionist issues related to colour and light.
Photograph(70 000 - 90 000)50 000 CZK
(2 333 - 3 000)1 667 EUR
 
421   HAGN Marie von  (19th century, GERMANY)
Summer afternoon
Oil on canvas, 35 x 42 cm, framed, undated [1880s], unsigned, relined, authorship transferred from the back. The painting, depicting a group of people outdoors, renders a motif popular with Impressionist painters however, in this painting we may notice also certain historicizing reminiscences in terms of form, referring to Rococo painting, namely Watteau. This also applies to the treatment of the atmosphere; the vegetation is executed in fine shades of colour with gold hues, accentuating the mood. The treatment of light is close to Corot's paintings.
Photograph:  1  ,  2 (80 000 - 100 000)65 000 CZK
(2 667 - 3 333)2 167 EUR
 
422   UNKNOWN ARTIST  (18th century, CENTRAL EUROPE)
Musicians
Oil on canvas, 100 x 162 cm, framed, undated [turn of the 17th century], unsigned, relined. Restitution from the National Gallery in Prague. The painting renders a popular Baroque genre. The palette and certain flatness of forms refers to the Classicizing stream in Baroque painting and therefore French provenance cannot be excluded, however, the painting is more likely to have originated in Central Europe around the year 1700.
Photograph:  1  ,  2 -P-(800 000 - 1 000 000)600 000 CZK
(26 667 - 33 333)20 000 EUR
 
The following lot will be auctioned in compliance with Act No. 26/2000 Coll. on Public Aucions:
423   MASTER H.  (17th century, CENTRAL EUROPE)
Concert
Oil on canvas, 120 x 185 cm, framed, undated [17th century], signed lower right J. Br.nd, relined. There are two variants of this painting - this one was in the collection of the National Gallery in Prague where it was catalogued as a work of a 17th century Italian master. The second variant was housed in the Gallery van Diemen in Berlin in 1922 where it was registered as a work of 17th-century southern Italian school. The painting was reproduced in Benedict Nicolson: The International Caravaggesque Movement, Oxford 1979. Restitution from the National Gallery in Prague. The painting renders a popular Baroque genre scene. The plasticity of the figures and the chiaroscuro, treatment of light and shadow, suggest the influence of Caravaggio and we may speak of Italian provenance also in terms of form.
Literature: Benedict Nicolson: The International Caravaggesque Movement, Oxford 1979.
Photograph:  1  ,  2 -P-(1 300 000 - 1 600 000)1 000 000 CZK
(43 333 - 53 333)33 333 EUR
 
424   SWABIAN MASTER OF THE BEGINNING OF THE 16TH CENTURY
Saint Catherine of Alexandria
Oil on a wooden panel, 78,5 x 31,5 cm, framed, undated [after 1500], unsigned. The painting depicts the three-quarter length figure of Saint Catherine with a distinctive S-shaped posture with slightly raised arms holding a large sword with a broad blade, straight cross-guard, wooden hilt and pear-shaped pommel. The attribute refers to the death of the saint virgin martyred in the 4th century as described in the Golden Legend. Saint Catherine is dressed in a long fluid blue-green dress and a richly modelled white cloak with light red lining, the hiked up part of the cloak at her knees forms a very impressive detail of drapery with rich folds. The oval face with soft pink flesh tint is framed by long wavy fair hair falling down to her waist. She is wearing a gold crown with five lilies richly decorated with pearls and precious stones. The head of the saint is surrounded by a large round golden halo (nimbus). The monochrome black-brown background is a result of later repainting. The painting with its exceptional high-quality painting technique is an outstanding example of painting of the period between the Middle Ages and early Renaissance, combining Gothic composition with an advanced painting technique, inspired by 15th-century Flemish painting (namely with view to the treatment of the hair and face). In other respects the painting corresponds to a broader circle of south German works of art created between the end of the 15th century and the first third of the 16th century. There is mainly a clear connection with Swabian paintings created after the year 1500. These tendencies are apparent within the whole area of Central Europe at that time. The character of the painting proves that the painting was originally the inner part of the left wing of a late Gothic altar of unknown origin. This wing was later cut lengthwise, which resulted in the separation of the two paintings on each side of the wing. The dimensions of the panel were also altered, the bottom part being shortened by approx. one quarter, thus destroying the part depicting the feet. We may presume that the original painting was also trimmed at the top and on both sides. The original altar painting of which this lot was a part most probably included a wing on the right side, which depicted Saint Barbara, another popular saint, the patroness of artillerymen and firemen. However this part is missing the same as the other parts of the altar. The beauty and quality of this painting is enhanced by the frame, which is a free reconstruction of a medieval frame. Provided with an expertise by Mgr. Vladimír Rišlink and a laboratory report by Dorothea Pechová.
Photograph-P-(1 100 000 - 1 300 000)850 000 CZK
(36 667 - 43 333)28 333 EUR
 
425   STEEN Jan Havickszoon  (1626 Leyden - 1679 Leyden)
Merchants offering goods
Oil on canvas, 62 x 50 cm, framed, undated, signed lower right, provided with a laboratory expertise by Dorothea Pechová. This lot is an example of a genre painting from the "Golden Age of Dutch Painting". This painting is an interior scene with a view of a landscape in the background depicting merchants absorbed in business, which is indicated by their gestures and facial expression. The artist employed some general Baroque modes of expression and techniques, including chiaroscuro. Despite a certain hyperbole the painting is a typical Dutch scene devoid of features of the "radical Baroque".
Dutch painter, pupil of N. Knüpfer in Utrecht, A. van Ostade in Haarlem and his brother-in-law J. van Goyen in the Hague. He was active in the Hague, Delft, Haarlem and Leiden. In his early works he treated biblical subjects and mythological themes. He is known for his paintings of humorous subjects from the life of the peasantry and middle classes, his pictures mostly represent tavern scenes or visits to respectable households. He also painted some portraits. He was a prolific artist, he is said to have painted about one thousand pictures but only about five hundred have been preserved.
See TB 31/509, B 9/791.
Photograph:  1  ,  2 (1 300 000 - 1 600 000)950 000 CZK
(43 333 - 53 333)31 667 EUR
 
426   KRACKER  (KRAKER, KROKER) Jan Lukáš (3. 3. 1717 Vienna - 1. 12. 1779 Erlau)
Saint Francis Xavier
Oil on canvas, 146 x 97 cm, framed, dated 1744, signed lower right. The painter became renowned for his illusive Baroque scenes designated for church interiors. This painting also belongs to a group of altar paintings and depicts the dying Jesuit Franciscus Xaverius (1506 - 1552), "Apostle of the Indies". He was one of the original Jesuits, in 1534 vowing to follow Christ in poverty and to evangelize the heathen. In 1542 he reached India where he was active as a missionary and then went to eastern Asia. He died forsaken on the way to China on the island Sancian.
Austrian painter, active in Prague, Moravia and Slovakia. In 1761 he created a large fresco painting for the Jesuit Church of St. Nicholas in Prague. He worked in the style of F. X. Palko, he painted altar paintings for Kremnitz, Báňská Bystřice, Vranov, Mikulášovice, Hodonice and frescos for the monastery Jasovský klášter.
See T 1/549, TB 21/375, B 6/303, Dlabač 2/120.
Photograph-P-(210 000 - 260 000)150 000 CZK
(7 000 - 8 667)5 000 EUR
 
427   STÖCKLIN Christian  (14. 7. 1741 Geneva - 1795 Frankfurt)
Church interior
Oil on a 7 mm thick wooden panel, 31,5 x 23 cm, framed, undated [circa 1780], unsigned, collector's seal with shield and crown on the reverse. Provided with an expertise on the painting technique. Ch. Stöcklin is a painter whose work falls into the period of early Historicism which arose already during the period dominated by Neo-Classicism. In the painting we notice different historical reminiscences - e.g. the interior of the Gothic church is peopled with figures dressed in 17th-century clothes. The interest in medieval architecture already foreshadows the massive advent of Historicism in the period of Romanticism.
Swiss landscape painter and architect, he studied in Geneva, Bologna and Rome, he is known for his fresco paintings, he became renowned for his decoration of churches in Germany.
See TB 32/85, B 9/840, N 19/493.
Photograph(150 000 - 180 000)85 000 CZK
(5 000 - 6 000)2 833 EUR
 
428   PIEPENHAGEN August Bedřich  (2. 8. 1791 Soldin in Prussia - 27. 9. 1868 Prague)
Winter evening
Oil on paper mounted on wood, 19 x 14,5 cm, framed, glazed, undated, signed with initials lower right. Provided with an expertise on the painting technique. This winter scenery rendered in darkened shades of colour is somewhat reminiscent of Dutch Baroque paintings (e.g. J. Ruisdael), which were an important source of inspiration for Romantic landscape painters. The landscape is animated by staffage observing the scenery "from inside" (the "Rückenfigur" motif), which was meant to draw in the viewer.
German painter resident in Prague, pupil of J. H. Wuest in Zurich. He belongs to the leading figures of Czech Romantic painting in its Biedermeier form. He is known for his dreamy mountainous landscapes characterised by delicate colours and his distinctive treatment of light. He was a close friend of the Czech landscape painter Josef Navrátil and of the poet and writer Adalbert Stifter, with whom he shared a love for nature. He developed his characteristic style in the 1930s and at that time ceased to date his paintings and instead of his signature he used the initials AP. He is known for his diverse paintings of mountain valleys, lakes and streams, castle ruins and moonlit landscapes, forest paths and winter landscapes. At the end of the fifties he often incorporates the solitary figure of a pilgrim into his paintings instead of staffage. His Romantic compositions express his desire to escape into dreams and nature. His later paintings show a radical change in palette and treatment of light, shades of dark brown dominate his landscapes and light is modelled with the other end of the brush.
See T 2/269, TB 26/598, B 8/313, NEČVU 2/611, V. Volavka: Malířství 19. století (19th-century painting), Prague 1968, p. 137.
Photograph(60 000 - 80 000)45 000 CZK
(2 000 - 2 667)1 500 EUR
 
429   RAUCH Johann Nepomuk  (15. 5. 1804 Vienna - 7. 3. 1847 Rome)
Alpine landscape with a lake and staffage
Oil on canvas, 160 x 210 cm, framed, undated, signed lower left, provided with an expertise by Jindřich Vydra. This lot represents a Romantic landscape from the period when Biedermeier changes began transforming the Romantic tradition. Alpine landscapes were very popular and represented a much sought after subject. The palette and stylization of natural forms arise from attentive studies in the open air.
Austrian landscape painter, son of restorer Michael Rauch from Swiss Thurgau. He studied painting in Vienna, and was active in Florence, Moscow, Munich and Rome. He became a renowned painter already at the age of 25 and his paintings were popular with leading aristocratic families (e.g. Romanov, Bernadotte, Habsburg). He is known for his landscapes and vedutas. His work is stamped with the influence of Old Masters as well as French 18th-century painters. He is regarded a significant representative of Austrian Romantic painting.
See TB 28/40, B 8/617.
Photograph(550 000 - 700 000)390 000 CZK
(18 333 - 23 333)13 000 EUR
 
430   STOTZ Otto  (24. 5. 1805 Ludwigsbourg - 1873 Vienna)
Herding horses
Oil on canvas, 74 x 92 cm, framed, undated [mid-19th century], signed lower right. The horses are captured in dynamic movement in a landscape brightened by the sun.
Austrian painter and lithographer, in 1830-40 he was active in Stuttgart, from 1840 in Vienna. There is a portrait of Emperor Franz Joseph by him in Schönbrunn and the Museum in Linz houses his painting Horse Market.
See TB 32/141, B 9/855.
Photograph(240 000 - 280 000)170 000 CZK
(8 000 - 9 333)5 667 EUR
 
431   HUNIN Pierre Paul Alouis  (8. 12. 1808 Malines - 27. 2. 1855 Malines)
Discussion
Oil on canvas, 54 x 67 cm, framed, undated, signed lower left. This lot is a genre scene from the period of Biedermeier. At that time genre paintings capturing moments of everyday life became very popular and in a way foreshadowed the later arrival of Realist trends. The figures in this interior scene are rendered in a somewhat simplified manner close to contemporary bourgeois self-presentation.
Belgian painter of genre, he studied under F. de Brackelaer in Antwerp, and then under Ingres and Coignet in Paris. He made his debut in 1834 at an exhibition in Antwerp with his painting "Girl". In 1839 he exhibited in Brussels, in 1841 in the Hague, and in 1845 was awarded the gold medal in Paris. See TB 18/142, B 5/672.
Photograph:  1  ,  2 (180 000 - 220 000)130 000 CZK
(6 000 - 7 333)4 333 EUR
 
432   SVOBODA  (SWOBODA) Eduard (15. 11. 1814 Vienna - 19. 9. 1902 Hallstadt)
Portrait of Miss Kinská
Oil on canvas, 110 x 85 cm, framed, dated 1855 at the back, signed lower left and at the back. The artist created an informal, intimate portrait in line with the Biedermeier period however, he already introduced some topical historicizing features. The painting shows certain features reminiscent of Baroque or Rococo portraits (e.g. the historicizing vessel, the use of chiaroscuro).
Austrian painter, he studied at the Academy of Arts in Vienna. In 1835 he came to Prague and Carlsbad, where he produced many portraits. In 1836 he was active in Budapest and in 1842 in Bratislava, where he portrayed members of the most famous aristocratic families. In 1848 he worked in Frankfurt and Wiesbaden. He was a much sought after portraitist, he produced mainly oil paintings and watercolours. He also executed fresco paintings and altar paintings.
See T 2/508, TB 32/354, B 10/32.
Photograph(190 000 - 250 000)140 000 CZK
(6 333 - 8 333)4 667 EUR
 
433   BARON Henry Charles Antoine  (23. 6. 1816 Besancon - 13. 9. 1885 Geneva)
Seated nude
Oil on canvas, 82 x 61 cm, framed, undated, signed lower right, provided with an expertise by PhDr. I. Havelka and an expertise on the painting technique. This painting shows a female nude reflecting in a mirror, which gives the depicted dressing scene certain depth. The female figure and the interior is rendered in a realist but still somewhat "studio" palette, the dominating shades are browns. The figure is enclosed by firm outlines accentuating the Classicizing treatment of the scene. The diffuse soft light contributes to the harmonious effect of the depicted scene.
French painter, pupil of the landscape painter Jean Gigoux. He made his debut at the Paris Salon in 1840. He became renowned for his interior scenes with characteristic evening illumination, genre scenes, female portraits and nudes.
See TB 2/515, B 1/455.
Photograph(130 000 - 160 000)100 000 CZK
(4 333 - 5 333)3 333 EUR
 
434   BOKLUND Johan Christoffer  (15. 7. 1817 Kulla Gunarstorp - 9. 12. 1880 Stockholm)
Still-life with a violin, suit and jugs
Oil on cardboard, 21,3 x 26,7 cm, framed, dated München 1849, signed lower right. This still-life derives from Realism of the Biedermeier period apparent in the use of natural light and local palette. The artist still uses chiaroscuro to a certain degree, which is a sign of early Historism (e.g. historical drapery), some features refer to Romanticism (e.g. musical instrument).
Swedish painter of genre and historical scenes and portraits. He studied in Copenhagen, Munich (1846 - 54), Stockholm and Paris (1854 - 55). He was a member of the Academy in Stockholm and in 1856 became the director. His early work includes genre paintings depicting scenes from everyday life, later he turned to historical genre paintings with picturesque architecture. There are examples of his work in the National Museum in Stockholm, in Göteborg and Lund.
See TB 4/237, B 2/130.
Photograph(45 000 - 60 000)28 000 CZK
(1 500 - 2 000) 933 EUR
 
435   HOFBAUER Karl  (*1818)
Portrait of Franz Forsach
Oil on wood, 31 x 25 cm, framed, glazed, undated [1849], signed lower right, title inscribed at the back. This lot is a mature example of the Biedermeier treatment of portraits. Although it is a small size portrait it was painted in the similar way as period large portrait commissions. The portrayed half-length male figure is seen in natural diffuse light, the harmony of the scene is also supported by the monochrome grey background devoid of light effects.
Austrian painter of religious themes. There is a painting of the Crucifixion by him dated 1855 in Persenbeug.
See TB 17/236, B 5/573.
Photograph(35 000 - 42 000)28 000 CZK
(1 167 - 1 400) 933 EUR
 
436   MÜCKE J. Ferenc  (*1819 Nagyatád - 1883 Pécs)
Portrait of a girl in blue
Oil on canvas, 60 x 45 cm, framed, undated [mid-19th century], signed lower left. This half-length female figure most probably forms a pair with the above lot. The simple composition of this portrait seen from profile and the artist's interest in detail refer to the period of Biedermeier.
Hungarian portraitist and figural painter, he studied in Vienna.
See TB 25/211, B 7/581.
Photograph(60 000 - 70 000)36 000 CZK
(2 000 - 2 333)1 200 EUR
 
437   MÜCKE J. Ferenc  (*1819 Nagyatád - 1883 Pécs)
Portrait of a girl with a fan
Oil on canvas, 60 x 45 cm, framed, undated [mid-19th century], signed lower left. This painting is most probably a pair with the following lot. The painting belongs to the boundary period of Romanticism and Biedermeier. Blue was the signal colour of Romanticism while the intimate character of the scene refers to the Biedermeier period. Forms are stylized in simplified enclosed volumes; the figure stands out against a neutral background.
Hungarian portraitist and figural painter, he studied in Vienna.
See TB 25/211, B 7/581.
Photograph(60 000 - 70 000)36 000 CZK
(2 000 - 2 333)1 200 EUR
 
438   LEDELI Josef  (13. 2. 1820 Čechovice in Silesia - 1884 Vienna)
Romantic landscape with staffage
Oil on canvas, 67 x 100 cm, framed, dated 1878, signed lower left. This lot is an example of popular Romantic mood landscapes with characteristic features, e.g. lakes, mountain peaks, staffage, dramatic light. The vegetation in the foreground is rendered in detail and the foreground is enlivened with staffage playing the role of involved observers.
Czech landscape painter, father of the painter Mořic Ledeli, there are two landscapes by him the Moravian Museum.
See T 2/16, TB 22/532, B 6/525.
Photograph:  1  ,  2 (25 000 - 35 000)18 000 CZK
(833 - 1 167) 600 EUR
 
439   TILL Johann  (19. 7. 1827 Vienna - 21. 11. 1894 Vienna)
Summer evening
Oil on canvas, 75 x 100 cm, framed, undated, signed lower left. This vivid genre scene bathed in southern sunshine shows the artist interest in the characteristics of life in the Mediterranean.
Austrian painter of genre and historical scenes. He studied under his father Johann Till and under C. Ruben and L. Kupelwieser at the Vienna Academy of Arts. He went on study stays to Italy and France, after his return he settled in Vienna. There are examples by him in Vienna, Gratz, Chemnitz and New York.
See TB 33/170, B 10/184.
Photograph(350 000 - 450 000)250 000 CZK
(11 667 - 15 000)8 333 EUR
 
440   ČERMÁK Jaroslav  (1. 8. 1830 Prague - 23. 4. 1878 Paris)
Small dogs in front of a bowl
Oil on a wooden panel, 25,5 x 18,5 cm, framed, undated [circa 1864], unsigned, provided with expertises by Doc. PhDr. Roman Prahl CSc. and PhDr. Eva Petrová. Verification of authenticity by the painter František Viktor Mokrý at the back (F. V. Mokrý together with Dr. V. Černý and Dr. V. Náprstek completed a catalogue of J. Černý's oeuvre and he is the author of the monograph "Život a dílo Jaroslava Čermáka" (Life and oeuvre of Jaroslav Čermák), published by Umělecká beseda, Prague, 1930). Jaroslav Čermák was renowned for his genre scenes and historical paintings. This lot is a small size informal interior scene executed in dynamic sketch-style brush strokes. It is a remarkable example of the quality of Čermák's brushwork and his acute observation talent.
Czech painter, draughtsman and graphic artist, he studied under Ch. Ruben at the Academy of Arts in Prague, then under G. Wappers in Antwerp and L. Gallait in Brussels and Paris. He travelled widely and drew inspiration mainly from the history of south Slavonic countries. His historical paintings reflect the influence of Romanticism and the influence of paintings by Delacroix. In the 1870s he became concerned with realism and painted mainly portraits, still-lifes and landscapes.
See T 1/141, TD 40, TB 8/241, B 2/623, NEČVU 1/11, V. Soukupová: J. Čermák, Prague 1981.
Photograph(160 000 - 190 000)115 000 CZK
(5 333 - 6 333)3 833 EUR
 
441   MALI Christian Friedrich  (2. 10. 1832 Brokhuizen near Utrecht - 1. 10. 1906 Munich)
Full moon over the mountains
Oil on canvas, 62 x 92 cm, framed, dated 1872, signed lower left, relined. This lot is a Romantic painting with its characteristic motifs (lakes, mountains, waterfalls etc.). The subject - a nocturne - takes its source from 17th-century Dutch landscape painting, the so-called "Golden Age".
German painter, he was trained as a xylographer, then studied painting in Munich, and under Troyon in Paris. He was awarded several prizes in London and Melbourne, he often exhibited in Germany.
See TB 23/594, B 7/119.
Photograph(30 000 - 40 000)18 000 CZK
(1 000 - 1 333) 600 EUR
 
442   BARVITIUS Viktor  (28. 3. 1834 Prague - 9. 6. 1902 Prague)
Horses and a wolf - Fables by Aesop
Oil on canvas, 30 x 65 cm, framed, undated [1870 - 1880], unsigned, provided with expertises by Doc. PhDr. Roman Prahl CSc. and PhDr. Eva Petrová. This painting renders one of the painter's favourite subjects - the study of animal physiognomy often represented a challenge for him to elaborate his dynamic style of rendition. The painting is a fine example of his brushwork, it is executed in darker studio colours but it gives a fresh and lively impression since it also has the quality of a deft sketch.
Czech painter, pupil of Ruben at the Academy of Arts in Prague and of Couture in Paris, initially he was concerned with historical themes, after his stay in France (1865-68) his work was stamped with the influence of the French Barbizon school of landscape painting. His masterpieces - Place de la Concorde, Horse market - originated in the 1860s. His paintings from the 1870s (e.g. Horses in water, Horse trader) are again of rectangular format and are rendered in a patchy brushwork close to Impressionist planeness. Barvitius focused on paintings of horses, he is also known for his urban motifs and his interest in issues related to light.
See T 1/41, TB 2/587, B 1/486, Dlabač 1/402, Ch 1/107, NEČVU 1/50.
Photograph:  1  ,  2 (160 000 - 200 000)110 000 CZK
(5 333 - 6 667)3 667 EUR
 
443   WALDHAUSER Antonín  (17. 3. 1835 Vodňany - 30. 11. 1913 Havlíčkův Brod)
In the green grove
Oil on cardboard, 19 x 29 cm, framed, glazed, undated, unsigned, at the back: label Heritage of A. Waldhauser, label from the exhibition of Umělecká beseda in Alšova síň from 1935, cat. No. 76, label from a sale exhibition from 1914 no. 165 with stamp of Krasoumná jednota. This lot is an open air study, executed in dynamic brushwork with impasto. The treatment of light and the choice of greens and shades of brown show the artist almost abandoned his former Romantic approach and aimed at a more realist rendition of the subject matter.
Czech landscape painter, he studied under professor Haushofer at the Academy of Arts in Prague and then in Vienna, his early work includes historical and figural paintings, in the 1870s he devoted himself to landscape painting.
See T 2/684, TB 35/72, B 10/608, NEČVU 2/932.
Photograph(14 000 - 18 000)9 000 CZK
(467 - 600) 300 EUR
 
444   HOFFMANN Jan František  (1840 Karlovy Vary - 22. 8. 1900 Rybáře near Karlovy Vary)
Roebuck and doe in a mountainous landscape
Oil on canvas, 105 x 73 cm, framed, undated [1880s], signed lower left. The artist renders a popular theme on the boundary of landscape and genre painting. Human figures are replaced by anthropomorphicized animal figures. The scene is set in a mountainous landscape, showing the painter's acquaintance with Alpine scenery. The darkened palette is penetrated by a misty atmosphere. The painting is an idyllic scene revived from the period of Romanticism.
Czech painter, gem cutter and glass engraver, he studied under professor Seitz at the Academy of Arts in Munich, he painted portraits, hunting scenes, historical and genre scenes.
See T 2/764.
Photograph(28 000 - 36 000)20 000 CZK
(933 - 1 200) 667 EUR
 
445   MAX Gabriel Cornelius von  (23. 8. 1840 Prague - 24. 11. 1915 Munich)
Portrait of a girl with fair hair
Oil on canvas, 44 x 36 cm, framed, undated [1870s], signed upper right. The painting depicts a female with a saintly expression in her face; the artist applied a painting technique reminiscent of Old Masters in line with the period Historism and Neo-Romanticism (e.g. the use of chiaroscuro with marked contrasts of light).
Czech painter and illustrator, son of the famous sculptor Josef Max. He studied at the Academy of Arts in Prague, in Vienna and under K. Piloty in Munich. Initially he was influenced by Realism and Naturalism, in the 1880s he turned to Neo-Romantic paintings reflecting his interest in occultism and his paintings from this period already foreshadow the advent of Symbolism.
See T 2/117, TB 24/288, B 7/280, NEČVU 1/497.
Photograph(150 000 - 170 000)120 000 CZK
(5 000 - 5 667)4 000 EUR
 
446   MAX Gabriel Cornelius von  (23. 8. 1840 Prague - 24. 11. 1915 Munich)
Contemplation
Oil on canvas, 67 x 56 cm, framed, undated [1870s], signed lower right. The artist focused on the spiritual content of the theme which he set in a partly naturalist and partly historicizing setting. The theme is not unambiguous; the praying female figure reminds us of legends of penitents and saints, turning to meditation (e.g. Mary Magdalene). The figure is depicted in a natural setting (perhaps on an island according to the rocks and the sea in the background) accentuating the impression of solitude.
Czech painter and illustrator, son of the famous sculptor Josef Max. He studied at the Academy of Arts in Prague, in Vienna and under K. Piloty in Munich. Initially he was influenced by Realism and Naturalism, in the 1880s he turned to Neo-Romantic paintings reflecting his interest in occultism and his paintings from this period already foreshadow the advent of Symbolism.
See T 2/117, TB 24/288, B 7/280, NEČVU 1/497.
Photograph(160 000 - 190 000)130 000 CZK
(5 333 - 6 333)4 333 EUR
 
447   MOORMANS Franz  (1831 Rotterdam - 1893)
Courtesy
Oil on a wooden panel, 36 x 46 cm, framed, dated 1872, signed lower left. Ex coll architect Josef Hlávka. The painting depicts a gallantry scene - a gentleman being introduced to a lady - rendered in line with period historicism (the figures are dressed in 17th-century attire; the scene is set in a Baroque interior). The painting is stamped with the influence of 17th-century Dutch painting; however the historical setting and attire are rendered in a naturalistic manner, apparent also in the employment of natural light without theatre effects and contrasts.
Dutch painter of genre, he studied at the Academy of Arts in Antwerp, he was appointed professor at the Academy of Arts in Amsterdam, in 1889 he was awarded a medal in Paris.
See B 7/514.
Photograph(120 000 - 150 000)75 000 CZK
(4 000 - 5 000)2 500 EUR
 
448   SCHLEICH Robert  (13. 7. 1845 Munich - 14. 10. 1934 Munich)
Date
Oil on a hard wood board, 45 x 35 cm, framed, undated [1880s], signed lower right. Provided with an expertise on the painting technique. This intimate interior scene reflects the influence of historicism of the third third of the 19th century. The figures are dressed in Renaissance style clothes while during the period of Romanticism it was mostly Mediaeval inspiration. The painting also shows realistic treatment of light and colour, some parts of the painting are left in the state of a sketch, which gives it a vivid quality.
German landscape painter, son of the painter Adrian Schleich, he studied under W. von Diez. He is known for his small scale landscapes enlivened with staffage. There are examples of his work in Augsburg, Baden - Baden, Heidelberg and Munich.
See TB 30/101, B 9/383.
Photograph(55 000 - 65 000)42 000 CZK
(1 833 - 2 167)1 400 EUR
 
449   STRÖMINGER Vilém  (1845 Josefov near Jaroměř - 7. 6. 1901 Prague)
View of the ruins of the castle Litice
Oil on canvas, 80 x 100 cm, framed, dated 1894, signed lower left, relined. The landscape is enlivened with Romantic motifs; the painter renders the subject in a detailed, descriptive manner but also pays attention to the qualities of light and colour.
Czech painter, son of the painter Jakub Ströminger, he married the daughter of Antonín Gareis. His chief themes were Czech castles and history.
See T 2/497.
Photograph:  1  ,  2 (28 000 - 36 000)20 000 CZK
(933 - 1 200) 667 EUR
 
450   HINTZE Johann Ferdinand Julius  (3. 6. 1849 Wittingen - 25. 6. 1877 Munich)
Veteran
Oil on a wooden panel, 27 x 20 cm, framed, dated 1876, signed lower right. The theme of the painting draws on a popular Baroque genre; historical reminiscences are also evident in the use of chiaroscuro. However, the painting cannot be seen as a purely historicizing scene, since the painting shows distinctly realist features adopted from France (Courbet) and widely used in Germany mainly in the so-called Munich circle of Leibl. Realist features are also apparent in the depicted objects of every day life with signs of wear and tear, as well as in the painting technique. We may say that this painting renders a realist genre, which was developed mainly in Munich and Düsseldorf.
German painter of genre, he studied under Karl Otto at the Munich Academy of Arts, he exhibited in Berlin.
See TB 17/120, B 5/550.
Photograph(70 000 - 90 000)50 000 CZK
(2 333 - 3 000)1 667 EUR
 
451   APOL Louis  (Lodewyk Franciscus Hendrik) (6. 9. 1850 La Haye - 1936)
Winter path
Oil on wood, 21,5 x 29 cm, framed, undated [1890s], signed lower right. Provided with an expertise on the painting technique. The painting reflects the influence of the Dutch Baroque landscape tradition. This winter scenery is rendered in shades of grey highlightened with white and reflects the real light conditions in the landscape with slightly accentuated colour accents in the skies in the background.
Dutch landscape painter, he studied under J. Hoppenbrouwer and Pierre Stortenbeker. In 1875 he was awarded a prize in La Haye for his painting "Winter forest". His chief theme was the winter landscape. See TB 2/28, B 1/232.
Photograph(90 000 - 120 000)60 000 CZK
(3 000 - 4 000)2 000 EUR
 
452   BROŽÍK Václav  (5. 3. 1851 Železný Hamr u Třemošné - 15. 4. 1901 Paris)
Portrait of a bearded man
Oil on canvas, 47 x 39 cm, framed, undated, signed in the bottom centre. This lot is a study for the painting Master John Huss before the Council in Constance and shows all the qualities of Brožík's style - His realistic or almost naturalist style of painting, dynamic brushwork and modellation of the colour matter. The body forms stand out against the dark background. The painting became one of Brožík's best known history paintings and awakened immediate interest not only in Bohemia but also abroad.
Czech painter, he studied under A. Lhota and E. Lauffr at the Prague Academy of Arts, in Dresden, Munich and later in Paris, where he finally settled. He was a leading representative of Czech historical painting and is also known for his portraits and historical genre paintings. He belonged to official painters of the Austria-Hungarian Empire and one of the best known Czech painters of the last quarter of the 19th century. His large-scale paintings rendering historical themes were shown at prestigious exhibitions around Europe and brought him immediate fame. He aimed at reviving the role of historical painting in the culture of a nation striving for political exercise. However, with view to political implications in Brožík's paintings he remained loyal to the Habsburg dynasty. He also participated in the decoration of the National Theatre and National Museum in Prague. He is also known for his lively open air sketches, rural genre paintings and portraits reflecting his feeling for modern realism. In 1893 he was appointed professor at the Academy of Arts in Prague.
See T 1/103, TD 35,222, TB 5/90, B 2/343, NEČVU 1/91.
Photograph(190 000 - 230 000)140 000 CZK
(6 333 - 7 667)4 667 EUR
 
453   DUJARDIN - BEAUMETZ Etienne  (Henry Charles E.) (20. 9. 1852 Paris - 27. 9. 1913 Limoges)
Besiege of a castle
Oil on canvas, 155 x 105 cm, framed, undated [1880s], signed lower left, not restored. The painter renders an interior scene in a realist manner, employing diffuse light and a natural palette. The painting deals with a theme from the war between France and Prussia in the early 1870s, a conflict leading to the unification of Germany.
French painter of historical scenes, he studied under Cabanel and L. Roux, he made his debut in 1876 with his painting Besiege of Paris exhibited at the Salon. His best known paintings are Les Voila (1882) and La Brigade Lapasset brulant ses drapeaux (1888), which was often reproduced. Besides painting he was active in politics and was elected senator.
See TB 10/104, B 4/7.
Photograph(200 000 - 250 000)140 000 CZK
(6 667 - 8 333)4 667 EUR
 
454   HAUG Robert von  (27. 5. 1857 Stuttgart - 3. 4. 1922 Stuttgart)
Farewell
Oil on canvas, 144 x 95 cm, framed, dated 1890, signed lower right. The painting depicts a genre scene - a girl parting with her boyfriend who has been drafted into the army. The scene is set in a winter landscape to intensify the sorrow of the couple. Although the scene is rendered in a realist manner we may feel the sentiment and symbolism of the late 19th century.
German painter, lithographer and illustrator, he studied under O. Seitz at the Academy of Arts in Munich, he was appointed professor at the Academy in Stuttgart and is known for his landscapes, battle scenes and war themes.
See TB 16/129, B 5/431.
Photograph(90 000 - 120 000)60 000 CZK
(3 000 - 4 000)2 000 EUR
 
455   LEEKE Ferdinand  (7. 4. 1859 Burg near Magdeburg - 1929)
Arrival of a stagecoach
Oil on canvas, 85 x 123 cm, framed, undated, signed lower left, inscribed München. This painting belongs to late 19th-century realist-symbolist genre (here represented by e.g. J. Schikaneder). This stream of painting is characterized by realist composition and palette but with a symbolic overtone or subject. The colours, usually dark shades, are often chosen to suggest the mood. The message of the paintings was not clear, it was up to the viewer to interpret the meaning of the depicted scene using his imagination and drawing on his own experience.
German painter of genre, historical scenes and landscapes, he studied at the Academy of Arts in Munich under Alex, Wagner and Herterich. In 1889 he exhibited in Munich. He is known as an illustrator of Deutsche Heldensagen. His work is derived from the tradition of German and French painting. He was admired especially for his ability to depict the unearthly world in an original way and with magnetic pathos. A certain analogy may be found in the work of the Czech painter Beneš Knüpfer. He was an artist with exceptional creative imagination. He exhibited his works in Germany and in Austria-Hungary.
See TB 22/543, B 6/529.
Photograph:  1  ,  2 (120 000 - 160 000)80 000 CZK
(4 000 - 5 333)2 667 EUR
 
456   LEEKE Ferdinand  (7. 4. 1859 Burg near Magdeburg - 1929)
Fairy and Demon
Oil on canvas, 100 x 130 cm, framed, undated, signed lower left, inscribed München, provided with an expertise by Jindřich Vydra and a verification of authenticity by PhDr. I. Havelka. The painting renders a mythological theme characteristic of the contemporary Symbolist tendencies at the turn of the 19th century. The fairytale scene is set in sea scenery enabling the artist to exploit dynamic form and light elements. Similar themes were rendered by Swiss symbolist painter A. Böcklin.
German painter of landscapes, genre and historical scenes, he studied under Alex, Wagner and Herterich at the Munich Academy of Arts. In 1889 he exhibited in Munich. He is known as an illustrator of Deutsche Heldensagen. His work is derived from the tradition of German and French painting. He was admired especially for his talent to depict the unearthly world in an original way and with magnetic pathos. A certain analogy may be found in the work of the Czech painter Beneš Knüpfer. He was an artist with exceptional creative imagination. He exhibited his works in Germany and in Austria-Hungary.
See TB 22/543, B 6/529.
Photograph(170 000 - 220 000)120 000 CZK
(5 667 - 7 333)4 000 EUR
 
457   JAROŠ Petr  (29. 6. 1859 Prague - 26. 8. 1929 Prague)
View of Hradčany Castle in the evening
Oil on canvas, 110 x 125 cm, framed, dated 1919, signed lower right. This painting shows a typical view of Prague, capturing the evening mood. This townscape of mood with its coloured lights reflecting on the water surface is enhanced by short Impressionist brush strokes.
Czech landscape painter, he studied under H. Ullík in Prague and under J. Kautsky in Vienna and also in Munich and Dresden. He is known for his landscape paintings of western Bohemia.
See T 1/424, TB 18/433, B 6/43.
Photograph(40 000 - 50 000)30 000 CZK
(1 333 - 1 667)1 000 EUR
 
458   SCHADE Wilhelm  (*21. 5. 1859 Niedergrund)
Frightened
Oil on canvas, 50 x 36 cm, framed, undated [turn of the 19th century], signed lower left and at the back together with title. This painting may be considered as a late example of genre painting or it may be interpreted as a quazi-representation of the theme of Susanna and the Elders. The painting is rendered in line with period Naturalism in lush, dynamic brushwork and vivid colours characteristic of paintings made in the open air, e.g. typical of the work of the Czech painter Hynais.
German painter of genre and illustrator, he studied under G. von Hackl and O. Seitz, he was active in Dresden.
See TB 29/540, B 9/334.
Photograph(20 000 - 25 000)13 000 CZK
(667 - 833) 433 EUR
 
459   SKRAMLÍK Jan, knight  (1. 7. 1860 Prague - 1936 Prague)
At Martinská bouda
Oil on canvas, 95 x 150 cm, framed, undated [1912], signed lower left. This painting depicts a group of people in the mountains fighting for their lives in a snow storm - the scene is based on a true experience from February 1912. Due to the fact that he renders his own experience, he paid attention to precise details and set the scene in real landscape.
Czech painter of portraits and historical themes, son of the Mayor of Prague, he studied shortly at the Academy of Arts in Prague and then spent eight years at the Academy of Arts in Munich in the studio of C. Lindenschmidt. In Paris he met F. Brožík whose work he admired. When Brožík returned to Prague and began teaching at the Prague Academy Skramlík worked for him in his studio. He travelled widely, namely around Italy, southern Europe, Germany and England. His historicizing portraits, historical and religious paintings close to Brožík´s Realist paintings and reflecting the influence of old masters became very popular.
See T 2/454, TB 31/124, B 9/641, NEČVU 2/750.
Photograph(90 000 - 110 000)70 000 CZK
(3 000 - 3 667)2 333 EUR
 
460   KOROVINE  (KOROVIN) Konsantin Alexeievich (23. 1. 1861 Moscow - 1939 Paris)
Paris
Oil on canvas, 81 x 60 cm, framed, undated [circa 1926], signed lower left together with title. Provided with laboratory report by Dorothea Pechová. This painting is on sale for the first time. It comes from the private collection of Josef Škvor (born 1888 - died 1968), director of the Škoda factory and a significant Czech businessman, who worked in Russia before and during World War I. From 1927 to 1932 he worked in Paris, where he became friends with Konsantin Korovin. Josef Škvor acquired the painting from the artist in his Paris studio. The painting has remained the property of the Škvor family up until now. The painting "Vichy" by Korovin, which was sold at the November auction last year, also came from the Škvor family. The artist arrived at a specific synthesis of Impressionist, expressive and futuristic trends. He pictures a busy avenue in a dynamic myriad of coloured patches, endowing the painting with an almost non-objective fairy-like character.
Russian painter and stage designer, he studied under A. Savrasov and W. Polienov at the Academy of Arts in Moscow. He was influenced by French Impressionist painters. He created stage and costume designs for Moscow theatres. He was appointed professor at the Academy of Arts in Moscow, in1924 he settled in Paris. In is known for his landscapes, paintings of flowers and figural themes.
See V 3/100, B 6/292.
Photograph(1 700 000 - 2 600 000)900 000 CZK
(56 667 - 86 667)30 000 EUR
 
461   OLIVA Viktor  (24. 4. 1861 Nové Strašecí - 5. 4. 1928 Prague)
Man with a cigar
Oil on canvas, 100 x 75 cm, framed, dated 1909, signed lower left. This lot is a vivid realistic portrait. The well-dressed half-length male figure stands out against the monochrome green background which underlines plasticity of the body forms. The painting is stamped with the influence of naturalistic trends; the face of the man is free of stylization and idealization.
Czech painter and illustrator, he studied under F. Sequens at the Academy of Art in Prague, then in Munich and Paris. He was influenced by the work of his friend L. Marold. He created chiefly portraits and large-scale paintings following the historicizing stream in art. His portraits and large number of illustrations for books by Czech and European authors as well as his poster designs testify to the contemporary life style based on the Art Nouveau style.
See T 2/223, NEČVU 2/584.
Photograph(10 000 - 15 000)5 000 CZK
(333 - 500) 167 EUR
 
462   SIEBURGEROVÁ Frieda  (*25. 9. 1862 Prague)
Wild ducks above a lake
Oil on canvas, 98 x 74 cm, framed, undated [1890s], signed lower left. The painting shows a peaceful landscape motif with corresponding palette and undramatic treatment of light. She lays emphasis on the foreground with lush vegetation and on the sky.
Czech painter of landscapes and genre, daughter of the painter Bernhard Sieburger.
See T 2/449, V 4/496, TB 33/587, B 9/586.
Photograph(70 000 - 90 000)48 000 CZK
(2 333 - 3 000)1 600 EUR
 
463   ECKMANN Otto  (19. 11. 1865 Hamburg - 11. 6. 1902 Badenweiler)
Frühlings Abend (Spring evening)
Oil on canvas, 100 x 59 cm, framed, undated [1893], signed lower left, label from the Great Berlin Exhibition in 1893 at the back. This painting dates from the period of late Symbolism and early Art Nouveau in terms of treatment and theme. It renders an allegorical theme with a sentimental atmosphere; the vertical format close to the Golden Section corresponds with the decorative trends of the late 19th century.
German painter, graphic artist, poster and book designer. After his studies in Hamburg, Nuremberg and Munich he devoted himself to painting until 1894 when he decided to sell all his paintings at auction. Under the influence of Just Brinckmann he became concerned with Japanese art and turned to graphics, making wood engravings in the Japanese manner. He became renowned for his illustrations for Pan and Jugend, his book designs and tapestry designs for Scherrebeker Kunstwebschule. He became active in different fields of applied arts, and participated in the interior decoration of the New Palace in Darmstadt. He disputed over the principles of the new style with Henry van de Velde.
See TB 10/329, V 10/329, B 4/104.
Photograph(220 000 - 280 000)150 000 CZK
(7 333 - 9 333)5 000 EUR
 
464   MAROLD Luděk  (7. 8. 1865 Prague - 1. 12. 1898 Prague)
Portrait of a woman
Oil on cardboard, 31 x 24 cm, framed, undated [1880s], signed with initials lower left. This painting is a remarkable example of Marold's work with his characteristic dynamic brushwork, his use of impasto treated as organic mass endowed with intrinsic life. The frivolous expression of the woman (with slightly closed eyes, partly open mouth and head tilted back) arises from the fin-de-siécle manner of depicting modern life enshrouded in symbolic stylization (motif of a femme fatale). The dynamic brushwork derives from Baroque tradition (e.g. F. Hals) revived for example in the work of E. Manet.
Czech painter and illustrator, he studied at the Academy of Decorative Arts and then under M. Pirner at the Prague Academy of Arts and in Munich. During his stay in Paris he produced illustrations for magazines, mostly depicting contemporary Parisian society, which he often presented with a great deal of irony. Marold is known for his realist paintings and drawings depicting contemporary life. In his watercolours combined with gouache, mostly created as illustrations for numerous books, he gradually abandoned his former descriptive naturalist treatment of genre and turned to decorative forms of the Art Nouveau style. He became concerned with stylized expression and aimed at capturing the contemporary decadent mood in society. He is known to have designed a number of posters; however none of them survived apart from the poster Náš dům v asanaci (1898). He created the well-known large-scale panoramic painting The Battle of Lipany (1898), which did not surpass the framework of academic historical genre painting; nevertheless, it remains an interesting example of contemporary exhibition work.
See T 2/93, TB 24/126, B 7/195, NEČVU 1/483, J. Brabcová: L. Marold, Prague 1988.
Photograph(90 000 - 110 000)70 000 CZK
(3 000 - 3 667)2 333 EUR
 
465   KAVÁN František  (10. 9. 1866 Vichovská Lhota - 16. 12. 1941 Libuň)
Vítanov
Oil on canvas, 40 x 52 cm, framed, undated [circa 1910], signed lower left. The treatment of the landscape as well as the choice of colours suggests that this is one of Kaván's later works. The painting renders an idyllic, simple rural theme reflecting the relationship between man and nature. The composition of the painting is based on horizontal planes with a water surface at the bottom enhancing the harmony and balladic character of the scene.
Czech painter and poet, he studied under J. Mařák at the Academy of Arts in Prague but did not finish his studies. He was influenced by Chittussi´s conception of landscape painting, especially his aim to capture the atmosphere and mood in nature. His sensitiveness brought him close to Symbolist artists and the coming generation of the Czech Modern, in 1897 he joined the SVU Mánes union of artists. He is chiefly known for his landscapes, his main concern was to express the mood in nature. Due to the great interest of art collectors his late work shows a tendency towards repetition.
See T 1/474, TD 90, V 3/28, B 6/176, NEČVU 1/343.
Photograph(65 000 - 80 000)50 000 CZK
(2 167 - 2 667)1 667 EUR
 
466   NAGEL Wilhelm  (*23. 6. 1866 Mannheim - 1944)
Evening landscape with trees
Oil on canvas, 88 x 107 cm, framed, undated [circa 1900], signed lower right. The painter captured the mood of the evening landscape, paying attention to the water surface and sky, the evening light and shades of grey intensify the symbolic character of the scene, which was characteristic of the late 19th century.
German landscape painter and graphic artist, he studied under Ferdinand Kellers, there are examples of his work in the museum in Karlsruhe and Mannheim.
See TB 25/330, B 7/642.
Photograph(30 000 - 38 000)18 000 CZK
(1 000 - 1 267) 600 EUR
 
467   RADIMSKÝ Václav  (6. 10. 1867 Pašinka near Kolín - 31. 1. 1946 Pašinka near Kolín)
Sun dispersing mist
Oil on cardboard, 77 x 83 cm, framed, undated [circa 1920], signed lower right, label from the exhibition of Myslbek in Prague at the back. The painting ranks among Radimský's Impressionist paintings, in which he was concerned with mood landscapes, which is apparent in his choice of shades of broken colours besides luminous colour masses. With the help of crossing short Impressionist-style brush strokes he created a mist which is the autonomous theme of the painting. Vegetation, reflected in the water surface, is rendered in rapid brush strokes characteristic of sketches.
Czech landscape painter, he studied in Vienna and then went to France and settled in Barbizon, where he became acquainted with the Barbizon school of landscape painting. His Impressionist paintings exhibited in 1899 in Prague may be considered as the first encounter of Czech audience with Impressionism. He remained faithful to the principles of Impressionism throughout his life.
See T 2/341, V 4/8, TB 27/549, B 8/572, NEČVU 2/668.
Photograph(300 000 - 360 000)240 000 CZK
(10 000 - 12 000)8 000 EUR
 
468   RADIMSKÝ Václav  (6. 10. 1867 Pašinka near Kolín - 31. 1. 1946 Pašinka near Kolín)
Summer pool
Oil on canvas, 75 x 100 cm, framed, undated [circa 1900], signed lower right. This painting is a remarkable example of Radimský's mature Impressionist works. The painting also reflects the artist's interest in the effects of bright sunlight on the transformation of the atmosphere. Under the influence of French Impressionists and their analysis of tone and colour he focused on the play of light on the surface of the water. The painting is executed in broad brush strokes, following the form of the depicted objects, and giving rise to shimmering colour matter.
Czech landscape painter, he studied in Vienna and then went to France and settled in Barbizon, where he became acquainted with the Barbizon school of landscape painting. His Impressionist paintings exhibited in 1899 in Prague may be considered the first encounter of Czech audience with Impressionism. He remained faithful to the principles of Impressionism throughout his life.
See T 2/341, V 4/8, TB 27/549, B 8/572, NEČVU 2/668.
Photograph(380 000 - 450 000)280 000 CZK
(12 667 - 15 000)9 333 EUR
 
469   GIESSEL Wilhelm  (1869 Vienna - 1938)
Women waiting in a port
Oil on canvas, 68 x 105 cm, framed, undated [circa 1910], signed lower left, relined. This painting with its realist features and social overtone dates from the 20th century.
Austrian painter of figural genre scenes.
See Saur: Allgemeines Künstlerlexikon, Munich 2000.
Photograph:  1  ,  2  ,  3 (48 000 - 60 000)35 000 CZK
(1 600 - 2 000)1 167 EUR
 
470   HOLUB Josef  (13. 11. 1870 Slaný - 22.8. 1957 Rychnov nad Kněžnou)
Birch trees on a hillside
Oil on cardboard, 58 x 48 cm, framed, dated 1900, signed lower right. This painting reflects the influence of the artist's teacher - the landscape painter A. Mařák. This is apparent mainly in the darkened palette and in the interpretation of the scene as a Symbolist scene, representing the soul in harmony with nature. However, the scene also shows some features of the Modern, e.g. the freed composition and dynamic brushwork.
Czech landscape painter, pupil of Mařák at the Academy of Arts in Prague, whose work Holub followed throughout his life. He is known for his landscapes, in his paintings he concentrated on capturing the mood in nature in a given season of the year. He also drew inspiration from his travels abroad and studied works of other artists in galleries in Germany and Austria. He exhibited in Slaný, Chrudim, Kralupy and Polička.
See T 1/362, V 2/478, Ch 3/233.
Photograph(28 000 - 36 000)20 000 CZK
(933 - 1 200) 667 EUR
 
471   STOITZNER Alexander  (*15. 3. 1870 Vienna)
Floral still-life
Oil on canvas, 53 x 42 cm, framed, undated [late 19th century], signed lower right. Provided with a laboratory report by Dorothea Pechová. This lot represents historicizing trends in 19th-century painting. The painting is reminiscent of Baroque floral still-lifes, including the use of chiaroscuro, with the background accenting colours. This type of still-life painting with its specific symbolics stems from 17th-century Dutch painting which had a great impact on the development of European painting.
Austrian painter, pupil of Settegasta.
See TB 32/100.
Photograph(70 000 - 90 000)50 000 CZK
(2 333 - 3 000)1 667 EUR
 
472   ULLMANN Josef  (13. 6. 1870 Nekmíř - 31. 5. 1922 Prague)
Early evening in winter
Oil on cardboard, 26 x 31 cm, framed, glazed, undated [before1920], signed lower right. This lot is a typical study executed outdoors. The painting depicting winter twilight is rendered in atmospheric colours (e.g. shades of purple) capturing the mood in nature, reflecting inner tension and dynamics.
Czech landscape painter, he studied painting in Munich, then under M. Pirner and J. Mařák at the Academy of Arts in Prague. His paintings of forests show the influence of his teacher J. Mařák. He exhibited his large-scale paintings and landscapes in Rudolfinum. In 1911 he responded to Impressionism and created Impressionist landscapes between 1918 and 1929. His work reached its peak towards the end of World War I in his landscapes.
See T 2/619.
Photograph(11 000 - 15 000)7 000 CZK
(367 - 500) 233 EUR
 
473   ULLMANN Josef  (13. 6. 1870 Nekmíř - 31. 5. 1922 Prague)
Spring in the highlands
Oil on cardboard, 24 x 29 cm, framed, glazed, dated 1917, signed lower right. This open air study of a spring landscape is executed in distinctive summarizing but precise brush strokes, the luminous bright colours reflect the influence of French Impressionist painters.
Czech landscape painter, he studied painting in Munich, then under M. Pirner and J. Mařák at the Academy of Arts in Prague. His paintings of forests show the influence of his teacher J. Mařák. He exhibited his large-scale paintings and landscapes in Rudolfinum. In 1911 he responded to Impressionism and created Impressionist landscapes between 1918 and 1929. His work reached its peak towards the end of World War I in his landscapes.
See T 2/619.
Photograph(11 000 - 15 000)7 000 CZK
(367 - 500) 233 EUR
 
474   ULLMANN Josef  (13. 6. 1870 Nekmíř - 31. 5. 1922 Prague)
Village in winter
Oil on cardboard, 25 x 30 cm, framed, glazed, undated [before 1920], signed lower right. This lot is an open air study executed by distinctive impressive brush strokes. The palette reflects the symbolic mood; it is a more or less realist palette reflecting the influence of the specific Czech form of Impressionism.
Czech landscape painter, he studied painting in Munich, then under M. Pirner and J. Mařák at the Academy of Arts in Prague. His paintings of forests show the influence of his teacher J. Mařák. He exhibited his large-scale paintings and landscapes in Rudolfinum. In 1911 he responded to Impressionism and created Impressionist landscapes between 1918 and 1929. His work reached its peak towards the end of World War I in his landscapes.
See T 2/619.
Photograph(11 000 - 15 000)7 000 CZK
(367 - 500) 233 EUR
 
475   BUBENÍČEK Ota  (13. 10. 1871 Uhříněves - 1962)
Beyond the village
Oil on canvas mounted on cardboard, 33 x 48 cm, framed, glazed, undated [1910 - 1915], signed lower right. This landscape theme reflects the influence of Impressionism in terms pure colours and dynamic brushwork. The colours reflect the bright summer sunshine, and touches of violet emphasize the shadows.
Czech landscape painter, pupil of J. Mařák at the Prague Academy of Arts, in 1902 he joined the union of artists Jednota umělců výtvarných. His conception of landscape painting followed the neo-Impressionist trend in Czech painting and brought him close to the German landscape painters from Worpswede. He focused on the landscape of Moravia and South Bohemia and often painted folk architecture, which was later also appreciated for its documentary value by ethnographers.
See T 1/113, TD 36, V 1/339, NEČVU 1/95.
Photograph(17 000 - 22 000)12 000 CZK
(567 - 733) 400 EUR
 
476   PANUŠKA Jaroslav  (3. 3. 1872 Hořovice - 1. 8. 1958 Kochánov)
Early spring
Oil on canvas, 35 x 50 cm, framed, undated [circa 1905], signed lower right. This landscape is rendered in line with the period melancholy mood of the Symbolist period, which is apparent in the darkened palette and theme. On the other hand, the painting also reflects the influence of the specifically Czech conception of Impressionism, e.g. the plenair pallete, broad brush strokes characterizing form. The scene is endowed with a certain inner tension and dramatic quality.
Czech painter, draughtsman and illustrator, pupil of J. Mařák and M. Pirner at the Prague Academy of Arts. His work stems from Symbolism and is stamped with the influence of fairy-tale-like Neoromanticism, he is known for his colourful landscapes and paintings of prehistoric settlements reflecting his interest in history and archaeology.
See T 2/242, V 3/545, TB 26/206, B 8/112, NEČVU 2/601.
Photograph(14 000 - 18 000)10 000 CZK
(467 - 600) 333 EUR
 
477   PANUŠKA Jaroslav  (3. 3. 1872 Hořovice - 1. 8. 1958 Kochánov)
Rocks near Kokořín
Oil on cardboard, 50 x 65 cm, framed, glazed, undated [before 1910], signed lower right and at the back together with title. The painting reflects the artist's interest in unusual and bizarre motifs, the dilapidating houses set below overhanging rocks seem unreal or at least surprising, the same as the popular 18th century "capriccios". The subject of the painting is escalated also by the dramatic brushwork, impressive brush strokes and sharp sun light.
Czech painter, draughtsman and illustrator, pupil of J. Mařák and M. Pirner at the Prague Academy of Arts. His work stems from Symbolism and is stamped with the influence of fairy-tale-like Neoromanticism, he is known for his colourful landscapes and paintings of prehistoric settlements reflecting his interest in history and archaeology.
See T 2/242, V 3/545, TB 26/206, B 8/112, NEČVU 2/601.
Photograph(45 000 - 55 000)35 000 CZK
(1 500 - 1 833)1 167 EUR
 
478   PREISLER Jan  (18. 2. 1872 Popovice - 27. 4. 1918 Prague)
Portrait of a girl
Oil on canvas, 45 x 33 cm, framed, glazed, undated [late 19th century], unsigned, relined. This portrait is one of Preisler's early works and is still stamped with the influence of realist-symbolist trends. The girl's face reveals intensive contrasts of light and shadow, it stands out against the neutral grey background and the plasticity of the face framed by dark hair stems from classical tradition.
Czech painter and illustrator, he studied at the Academy of Decorative Arts in Prague, where he was later appointed professor, from 1913 at the Academy of Arts in Prague. His work is stamped with the influence of Neoromanticism and Symbolism. His fairy-tale subjects gradually transformed into "autobiographical" figures of pensive young men or melancholy lovers appearing also in his later expressive works. The exhibition of Munch in Prague in 1905 had a great influence on his work. Preisler was a leading figure of Czech art at the turn of the 19th century.
See T 2/309, TD 150, TB 27/372, B 8/447, NEČVU 2/646.
Photograph(95 000 - 120 000)75 000 CZK
(3 167 - 4 000)2 500 EUR
 
479   LOLEK Stanislav  (13. 11. 1873 Palonín - 9. 5. 1936 Uherské Hradiště)
Summer afternoon bathing
Oil on canvas, 50 x 60 cm, framed, dated 1932, signed lower left. The painter renders the popular theme of bathing in a traditional manner; the painting is somewhat reminiscent of Impressionism in terms of colour, light and brushwork.
Czech painter, illustrator and graphic artist, he studied under professor Mařák at the Prague Academy of Arts, he was a follower of the Neo-impressionist stream in Czech landscape painting. He was influenced by J. Uprka, F. Kaván and A. Hudeček. In the early 1920s he produced paintings of forests in line with the contemporary demand for this genre. His vivid paintings from the inter-war period contributed to the development of modern Czech landscape painting.
See T 2/44, V 3/255, TB 23/337, B 6/720, NEČVU 1/456.
Photograph(45 000 - 55 000)35 000 CZK
(1 500 - 1 833)1 167 EUR
 
480   HLAVA  (BÉM) Vratislav ( Rudolf) (*13. 4. 1874 Rabín near Vodňany)
On the way from Okoř
Oil on cardboard, 76 x 58 cm, framed, dated 1910, signed lower right and at the back together with title. This landscape theme corresponds to the Czech conception of Impressionism, which is apparent also in the use of earthy "wet" colours accentuating the tones of green and brown. An interesting feature of this open air study of autumn nature is the linear rhythm of the ploughed field.
Czech painter of landscapes and figural themes, he studied under professor Sequens and V. Hynais at the Academy of Arts in Prague, later he went on study trips to Paris, Munich and Italy. He was a member of SVU Mánes and Jednota umělců výtvarných. His name was Rudolf Bém, in 1919 he took the maiden name of his mother. He is known for his figural paintings, portraits and landscapes, mostly motifs from southern Bohemia and Italy; he produced also still-life paintings.
See T 1/337, TD 68, V 2/452, Ch 3/159.
Photograph(13 000 - 16 000)9 000 CZK
(433 - 533) 300 EUR
 
481   KOGANOWSKY Jakob  (1874 Vienna - 1926 Vienna)
Castle interior
Oil on canvas, 85,5 x 103 cm, framed, undated [circa 1910], signed lower right. The painting shows a typical Austrian castle interior scene enlivened with staffage and expressive colours, mainly shades of red.
Austrian landscape painter and portraitist, he exhibited at the Jubilee Exhibition in Künstlerhaus in Vienna in 1908.
See H. Fuchs: Die österreichischen Maler des 19. Jahrhunderts, Wien 1973, page 124.
Photograph(45 000 - 55 000)35 000 CZK
(1 500 - 1 833)1 167 EUR
 
482   KALVODA Alois  (15. 5. 1875 Šlapanice near Brno - 15. 6. 1934 Běhařov near Klatovy)
Stream in winter
Oil on cardboard, 34,5 x 49,5 cm, framed, dated 1926 at the back together with title, signed lower left. The seemingly narrative and mimetic character of this landscape is outweighed by the Symbolist features. The atmosphere of the scenery is accentuated by the unifying pastel shades. The painter aimed at capturing the mood in nature as well as at expressing the state of mind. The theme of the painting belongs to characteristic Symbolist subjects dealing with the basic two extremes of life - birth and death/or rebirth (in this painting represented by the motif of winter).
Czech painter, graphic artist and poet, he studied under J. Mařák at the Academy of Arts in Prague. In 1900 he established a private school of painting in the former studio of L. Marold. He went on study stays to Paris and Munich. In 1892 he began publishing in the magazine Čas and produced numerous book illustrations. In 1915 he produced the stage design for Smetana´s opera The Bartered Bride. He is known for his landscape paintings, his work stems from Chittussi´s treatment of landscape painting, his later work was influenced by Symbolism.
See T 1/456, V 3/90, TB 19/490, B 6/151, NEČVU 1/334.
Photograph(50 000 - 70 000)35 000 CZK
(1 667 - 2 333)1 167 EUR
 
483   KALVODA Alois  (15. 5. 1875 Šlapanice near Brno - 15. 6. 1934 Běhařov near Klatovy)
At a pool
Oil and tempera on cardboard, 46 x 65 cm, framed, glazed, undated [before 1910], signed lower right. In this floodlit landscape motif the painter makes use of all the possibilities of modulating colours through light. Natural forms are placed in contrejour lighting, creating a symbolic atmosphere, which shows that the painting is one of Kalvoda's early works. The dominating colours are bright shades of green and yellow, the treatment of the reflections on the water surface stems from Impressionism.
Czech painter, graphic artist and poet, he studied under J. Mařák at the Academy of Arts in Prague. In 1900 he established a private school of painting in the former studio of L. Marold. He went on study stays to Paris and Munich. In 1892 he began publishing in the magazine Čas and produced numerous book illustrations. In 1915 he produced the stage design for Smetana´s opera The Bartered Bride. He is known for his landscape paintings, his work stems from Chittussi´s treatment of landscape painting, his later work was influenced by Symbolism.
See T 1/456, V 3/90, TB 19/490, B 6/151, NEČVU 1/334.
Photograph(65 000 - 80 000)50 000 CZK
(2 167 - 2 667)1 667 EUR
 
484   HLAVÍN Jindřich  (*29. 9. 1877 Prague)
Village green with a pond
Oil on canvas, 110 x 100 cm, framed, dated 1917, signed lower right, relined. This harmonious, peaceful scene reflects the influence of late Art Nouveau and the darkened palette underlines the symbolic character of the painting.
Czech painter, graphic artist and restorer, he studied under professor Dítě, Schikaneder and Mašek at the Academy of Decorative Arts in Prague. He produced large scale decorative paintings and also executed the large figural fresco paintings depicting scenes from the lives of Czech patron saints on a church in Prague Bohnice. He also designed posters and is the author of the graphic design of Krásy republiky Československé (Beauties of Czechoslovakia). In 1915 he was awarded a prize of the Czech Academy for his work "Autumn". In 1912 he obtained a grant to study in Italy, Germany, France and Belgium. He presented his work at the exhibition of the Munich Sezession, at exhibitions of the Hollar Union of Graphic Artists and in Topičův Salon.
See T 1/341.
Photograph(28 000 - 36 000)20 000 CZK
(933 - 1 200) 667 EUR
 
485   LANGER Karel  (16. 1. 1878 Jaroměř - 2. 5. 1947 Prague)
Garden party
Oil on plywood, 35,5 x 50,5 cm, framed, glazed, undated [circa 1914], signed lower left. The painting depicts a summer scene with a group of people; the scene bathed in sunshine was a challenge for the artist to employ a rich range of colour. The effect of the sunshine results in the impression that the modellation and defining of figures and vegetation merge.
Czech landscape painter, he studied under professor Mařák at the Academy of Arts in Prague, then figural painting under professor Ottenfeld. He drew inspiration mainly from his travels abroad.
See T 2/8, V 3/168.
Photograph(15 000 - 20 000)10 000 CZK
(500 - 667) 333 EUR
 
486   LANGER Karel  (16. 1. 1878 Jaroměř - 2. 5. 1947 Prague)
Summer afternoon
Oil on canvas, 39 x 55 cm, framed, undated [1940s], signed lower right. The painting depicts a garden on a summer day, the sunshine influencing the colours of both the sunny and shady spots. The figure of a child in the idyllic garden nook with decorative flowers plays a symbolic role. The painting is stamped with the influence of Impressionism in terms of colour and brushwork.
Czech landscape painter, he studied under professor Mařák at the Academy of Arts in Prague, then figural painting under professor Ottenfeld. He drew inspiration mainly from his travels abroad.
See T 2/8, V 3/168.
Photograph:  1  ,  2 (20 000 - 25 000)13 000 CZK
(667 - 833) 433 EUR
 
487   STRETTI Viktor  (7. 4. 1878 Plasy - 5. 3. 1957 Prague)
View of Hradčany seen from Novotného lávka
Oil on cardboard, 23 x 30,5 cm, framed, undated [1920s], signed lower left. Stretti rendered a typical view of the Prague panorama on a cold winter day.
Czech graphic artist and painter, pupil of F. Ženíšek at the Academy of Arts in Prague, he is known for his paintings and prints of Prague and for his portraits.
See T 2/494, TD 176, V 4/376, TB 32/183, B 9/867, NEČVU 2/790.
Photograph(19 000 - 25 000)14 000 CZK
(633 - 833) 467 EUR
 
488   JELÍNEK Rudolf  (*1880 Brno)
Motif from Vienna, a girl smiling
Oil on canvas, 73 x 83 cm, framed, undated, signed upper left. This lot is a realist portrait combined with a townscape, giving the impression of a "snapshot". The paint is applied in free broad brush strokes to characterize form and colour is modulated by bright sunshine.
Self-taught Czech artist, he produced mainly townscapes and portraits.
See T 1/430, TB 18/500.
Photograph(50 000 - 60 000)38 000 CZK
(1 667 - 2 000)1 267 EUR
 
489   FILLA Emil  (4. 4. 1882 Chropyně - 7. 10. 1953 Prague)
Still-life with a pineapple
Oil on canvas, 43,5 x 53,5 cm, framed, dated 1926, signed lower left, exhibited in Mánes in 1932 (stamp and label), label with title at the back. The painting with its dark colours and intertwining organically perceived lines still reflects the influence of Cubism, namely the synthetic period. Filla regarded his still-life paintings as a platform for experimenting with colour and form.
Czech painter, pupil of V. Bukovac at the Academy of Arts in Prague. His chief source of inspiration was the work of old masters and above all the paintings by Munch and Picasso, which he sometimes almost dogmatically followed. Together with the Osma group of artists and later with artists joined in the Skupina výtvarných umělců he contributed to the creation of the platform for modern Czech art. Filla´s Cubist period underwent several developmental stages ranging from the sober Dutch period to his concern with signs and symbols in the 1940s. In the 1930s he was interested in monumental form and turned to themes and motifs from mythology and folk songs, in the 50s he concentrated on realistic landscapes.
See T 1/220, 2/761, TD 53, V 2/104,5/478, B 4/365, Ch 2/247, NEČVU 1/176, Č. Berka, Soupis gr. tvorby E. Filly (Collected graphic works by E. Filla), 1964.
Photograph(900 000 - 1 200 000)500 000 CZK
(30 000 - 40 000)16 667 EUR
 
490   OBROVSKÝ Jakub  (24. 12. 1882 Bystrc u Brna - 31. 3. 1949 Prague)
Woman with a shell
Oil on canvas, 110 x 140 cm, framed, dated 1929, signed lower left. Label from the 17th International exhibition of art in Venice in 1930 at the back. Restitution of the collection of Emil Salus from the Regional Gallery in Zlín no. 36. Auctioned at Sotheby's London on April, 9, 2002, lot no. 63. This painting is an example of Obrovský's treatment of an idyllic subject in terms of both content and form. The painter used luminous bright shades of colours and summarizing brush strokes modelling form. The allegorical figure is surrounded by vegetation, which is a typical symbol of a harmonious relationship between man and nature.
Czech painter and sculptor, he studied under C. Klouček, K. Mašek and S. Sucharda at the Academy of Decorative Arts in Prague and then under M. Pirner at the Prague Academy of Arts where he was later appointed professor. His paintings were influenced by Preisler´s treatment of colour and form. His later work, mostly large-scale paintings, reflect the academic naturalist principle including the use of exalted colours. His sculptures were stamped with the influence of Bourdelle and his work reached its peak in the 1930s in his large-scale bronze sculptures, mostly female nudes.
See T 2/219, V 3/503, TB 25/553, B 7/776, NEČVU 2/582.
Photograph(190 000 - 240 000)120 000 CZK
(6 333 - 8 000)4 000 EUR
 
491   BENEŠ Vincenc  (22. 1. 1883 Velké Lišice near Chlumec n. Cidlinou - 27. 3. 1979 Prague)
Flowers in a vase
Oil on cardboard, 63 x 50 cm, framed, undated [before 1920], signed lower left. Provided with an expertise on the painting technique. The outburst of colours and masterful brushwork make the viewer feel that the picture is a kind of a celebration of painting. Beneš became renowned for his paintings of flowers in which he concentrated on the role of colour and light.
Czech painter, he studied under E. Dítě and E. K. Liška at the Academy of Decorative Arts in Prague and then under V. Bukovac at the Prague Academy of Arts. He took part in the second exhibition of the "Osma" group of artists with whom he shared an interest in Expressionism and Cubism. He is known for his distinctive colourful landscapes and still-life paintings. Apart from his concern for the impressive character of colour and colour patches, he was also concerned with simple monumentality derived from Neoclassicism of the 1920s.
See T 1/55, V 1/167, B 1/622, Ch 1/134, NEČVU 1/62, V. V. Štech: V. Beneš, Prague 1967, M. Lamač: Osma a Skupina výtvarných umělců, Prague 1988.
Photograph(70 000 - 90 000)40 000 CZK
(2 333 - 3 000)1 333 EUR
 
492   DRTIKOL František  (3. 3. 1883 Příbram - 13. 1. 1961 Prague)
Reflection of the Moon
Oil on cardboard, 33 x 47 cm, framed, undated [1940s], signed lower right. Provided with an expertise on the painting technique. This painting is a symbolic abstract composition dealing with the ethereal quality of light. The diagonal composition refers to avant-garde trends, and the intensively illuminated part of the scene in the form of a mandorla reminds the viewer of a magic astral tunnel connecting the material world with the spiritual world.
Renowned Czech photographer, one of the most famous photographers of the first three decades of the 20th century. He was trained as a photographer in a private photographic studio in Příbram, after his apprenticeship he went to Munich, where he studied at the Lehr-und Versuchsanstalt für Photographie (1901-1903). In Munich he worked under G. H. Emmerich and Hans Spurl who awakened an interest in the Art Nouveau in him. After his studies he returned home and began making his living as a photographer. He set up his own studio in Prague and began with portraits of writers and artists. He became renowned for his nudes, which reflect his distinctive feeling for harmony and poetics. His artistic vocabulary employed both soft-focus and Art Nouveau forms, but in a Symbolist vein. He was a mystic, who was fascinated by the occult. Under the influence of historical events and the political development in Czechoslovakia he became disillusioned, ceased to take photographs, sold his studio and retired from the world. For the remaining part of his life he devoted himself to mysticism and painting. His paintings and drawings have recently also become much sought after.
See TD 46, Ch 2/110, NEČVU 1/148.
Photograph(17 000 - 22 000)11 000 CZK
(567 - 733) 367 EUR
 
493   KUBÍN  (COUBINE) Otakar (Othon) (22. 10. 1883 Boskovice - 17. 10. 1969 Marseille)
French landscape
Oil on canvas, 50 x 61 cm, framed, undated [1920s], signed lower right. Remnants of labels from galleries in Paris and Lyon at the back. The artist composed the scenery from natural and architectural elements, and by laying emphasis on the harmony of the depicted scene he brought the painting close to Classicist tradition - e.g. the style of Poussin. The scene is brightened by the unifying diffusion of light, which partially blurs the forms, light also has an influence on the palette with its broken colour shades and subtle pastel hues. The artist refrains from descriptive details, forms are stylized.
Czech painter, graphic artist and sculptor, he studied under V. Brožík, V. Hynais, H. Schwaiger and F. Thiele at the Prague Academy of Arts, he joined the Osma group of artists and took part in their first group exhibition in 1907. In 1913 he went to France and settled in Provence, where he developed his characteristic style. In his treatment of landscapes and still-life paintings he followed the French tradition of landscape painting, which is also apparent in his drawings. Neoclassical feeling was one of the dominating features of his paintings; his work reflects his interest in light, which he saw as a unifying element. He was regarded a member of the Paris school and his paintings were exhibited at the Salon des Indépendents.
See T 1/583, 2/771, TD 112, V 1/483, 3 /131, TB 22/34, B 3/212, 6/326, NEČVU 1/418, J. Siblík, O. Kubín, Prague 1980.
Photograph(250 000 - 320 000)180 000 CZK
(8 333 - 10 667)6 000 EUR
 
494   KUBÍN  (COUBINE) Otakar (Othon) (22. 10. 1883 Boskovice - 17. 10. 1969 Marseille)
Still-life with fruit and a jug
Oil on canvas, 53 x 64 cm, framed, undated [1930s], signed lower right, at the back a label - Guy Loudmer, Paris. The composition is based on summarizing simplified forms, individual objects are enclosed by clear outline, modellation is only indicated and emphasis is laid on the surface, which is rendered in subtle yet expressive colours. The enclosed and simplified forms give an impression of naive stylization, a trend topical in the first third of the 20th century.
Czech painter, graphic artist and sculptor, he studied under V. Brožík, V. Hynais, H. Schwaiger and F. Thiele at the Prague Academy of Arts, he joined the Osma group of artists and took part in their first group exhibition in 1907. In 1913 he went to France and settled in Provence, where he developed his characteristic style. In his treatment of landscapes and still-life paintings he draws on French tradition of landscape painting, which is also apparent in his drawings. Neo-Classical feeling was one of the dominating features of his paintings, his work reflects his interest in light, which he saw as a unifying element. He was regarded a member of the Paris school and his paintings were exhibited at the Salon des Indépendents.
See T 1/583, 2/771, TD 112, V 1/483, 3 /131, TB 22/34, B 3/212, 6/326, NEČVU 1/418, J. Siblík, O. Kubín, Prague 1980.
Photograph(240 000 - 280 000)180 000 CZK
(8 000 - 9 333)6 000 EUR
 
495   KUBÍN  (COUBINE) Otakar (Othon) (22. 10. 1883 Boskovice - 17. 10. 1969 Marseille)
Landscape near Neyge
Oil on canvas, 46,5 x 55 cm, framed, undated [1920s], signed lower right. At the back: label of Galerie des Arche..., Lyon and label of the transport company Robinot Fréres, Paris. The painting depicts a winter landscape with characteristic shades of greys accentuating the winter mood. Forms are rendered in a summarizing stylized manner, disregarding details. In this winter scenery the painter concentrated on the atmosphere, close to symbolic treatment of similar subjects.
Czech painter, graphic artist and sculptor, he studied under V. Brožík, V. Hynais, H. Schwaiger and F. Thiele at the Prague Academy of Arts, he joined the Osma group of artists and took part in their first group exhibition in 1907. In 1913 he went to France and settled in Provence, where he developed his characteristic style. In his treatment of landscapes and still-life paintings he followed the French tradition of landscape painting, which is also apparent in his drawings. Neoclassical feeling was one of the dominating features of his paintings; his work reflects his interest in light, which he saw as a unifying element. He was regarded a member of the Paris school and his paintings were exhibited at the Salon des Indépendents.
See T 1/583, 2/771, TD 112, V 1/483, 3/131, TB 22/34, B 3/212, 6/326, NEČVU 1/418, J. Siblík: O. Kubín, Prague 1980.
Photograph(250 000 - 320 000)180 000 CZK
(8 333 - 10 667)6 000 EUR
 
496   KUBÍN  (COUBINE) Otakar (Othon) (22. 10. 1883 Boskovice - 17. 10. 1969 Marseille)
Flowers in a vase
Oil on canvas, 80 x 62 cm, framed, undated [late 1920s], signed lower right, French label (Paris, Lyon) at the back and a stamp from Marseille. This painting is an example of Kubín's characteristic treatment of the subject, using subtle shades of delicate colours with occasional touches of stronger colours; forms of objects are harmoniously enclosed in line with period Neo-Classicism. Where possible, the artist underlined plasticity, the volume of objects. Natural diffuse daylight increases the impression of peace and harmony.
Czech painter, graphic artist and sculptor, he studied under V. Brožík, V. Hynais, H. Schwaiger and F. Thiele at the Prague Academy of Arts, he joined the Osma group of artists and took part in their first group exhibition in 1907. In 1913 he went to France and settled in Provence, where he developed his characteristic style. In his treatment of landscapes and still-life paintings he followed the French tradition of landscape painting, which is also apparent in his drawings. Neoclassical feeling was one of the dominating features of his paintings; his work reflects his interest in light, which he saw as a unifying element. He was regarded a member of the Paris school and his paintings were exhibited at the Salon des Indépendents.
Photograph(300 000 - 400 000)200 000 CZK
(10 000 - 13 333)6 667 EUR
 
497   MAREČEK Bohumil  (15. 12. 1884 Prague - 1942)
Allegory of Autumn
Oil on canvas, 53,5 x 64 cm, framed, undated [circa 1915], signed upper left. The allegorical figure is stamped with the influence of Symbolism, which is apparent in the movement and the inward-looking expression in the face (symbolic motif of "the inward-sight"). The artist used warm colours and intensive shades of orange in floodlit parts of the scene. The woman's warm red drapery also accentuates the colour impression of the whole scene. The painting is rendered in dynamic brushwork characteristic of the first quarter of the 20th century.
Czech painter of genre and portraits, he studied under professor Liška, Jenewein and Mašek at the Academy of Decorative Arts in Prague and under professor V. Hynais and Ženíšek at the Academy of Fine Arts in Prague. He also studied privately in Munich and Rome. He set up his own art school. He is known for his landscapes with figural motifs.
See T 2/88.
Photograph(29 000 - 38 000)22 000 CZK
(967 - 1 267) 733 EUR
 
498   PROCHÁZKOVÁ-SCHEITHAUEROVÁ  (L.P.) Linka (23. 1. 1884 Nové Dvory - 21. 10. 1960 Brno)
Small coastal town
Oil on canvas, 59 x 75 cm, framed, undated [1930s], signed lower left, provided with an expertise on the painting technique. The painting is a recollection of the artist's travels abroad. The somewhat naively stylized forms reflect the painter's aim at achieving a dreamy effect. The distinctive contrast between the whites and ochre of the architecture and the rainbow colours of the scenery (vegetation, the sea and the sky).
Czech painter, she studied under E. Krostová at the Academy of Decorative Arts, together with her future husband A. Procházka she exhibited at the 2nd exhibition of the Osma group. Unlike her contemporaries she avoided being influenced by Cubism, but became close to Czech Symbolist artists, such as M. Marten and Z. Braunerová. After her return from Italy her work was stamped with Italian influence, she turned to neo-Classicism and her lyrical themes often revealed somewhat sentimental features.
See T 2/318, V 3/628, NEČVU 2/653, J. B. Svrček: Linka Procházková, Prague 1960.
Photograph(60 000 - 80 000)45 000 CZK
(2 000 - 2 667)1 500 EUR
 
499   BRYGOO Raoul Léon  (* 24. 11. 1886 Lille)
Motif from the port in Bologna
Oil on cardboard, 26 x 40 cm, framed, undated [1930s], signed lower right and inscribed Boulogne. In this picture the painter concentrated on light effects and contrasts. The ships in the foreground are situated in the shade while the architecture in the background is suffused with bright sunshine, which results in a sort of sublimation of matter, although this is already present in the impasto. The colours reflect the time of the day, the houses with their yellows and pinks reflect the low position of the sun.
French landscape and marine painter, he was active in Wissant (Pas-de-Calais). In 1937 he was awarded a medal at Exposition Universelle. He exhibited at the Salon and there are examples of his work in Tourcoinge and Lille.
See V 1/339, B 2/372.
Photograph(40 000 - 55 000)28 000 CZK
(1 333 - 1 833) 933 EUR
 
500   BÍLEK Alois  (15. 6. 1887 Slupy near Tábor - 18. 1. 1961 Prague)
Bathing
Oil on canvas, 33 x 41 cm, framed, undated, signed lower right, label of ČFVU with title at the back. The theme of bathing stems from the tradition of idyllic scenes revived during the period of post-Impressionism. The harmonious composition of this figural scene is reminiscent of Classicism while the emphasis laid on the plasticity of the figures underlined by impasto brings this painting close to the works by the German painter Hans von Marées, a contemporary of Cézanne.
Czech painter, he studied architecture and then at the Prague Academy of Arts under professor M. Pirner. He was an expressive colourist and is known for his portraits and landscapes. In 1913-28 he lived in Paris where he met F. Kupka and under his influence became concerned with abstract painting (1913-14). Later he returned to figural motifs and still-life paintings. He is also known for his remarkable work for architecture.
See T 1/64, TD 28, V 1/212, Ch 1/161, NEČVU 1/68, Alois Bílek, catalogue, NG 1997.
Photograph(20 000 - 25 000)15 000 CZK
(667 - 833) 500 EUR
 
501   BÍLEK Alois  (15. 6. 1887 Slupy near Tábor - 18. 1. 1961 Prague)
Portrait of a girl
Oil on canvas, 41 x 33 cm, framed, undated [1920s], signed upper right. The painter exploits Neo-Classical vocabulary, the portrait is rendered en face, the eyes gaze at the viewer, and plasticity is achieved by the contrast of the flesh colour and the green background.
Czech painter, he studied architecture and then at the Prague Academy of Arts under professor M. Pirner. He was an expressive colourist and is known for his portraits and landscapes. In 1913-28 he lived in Paris where he met F. Kupka and under his influence became concerned with abstract painting (1913-14). Later he returned to figural motifs and still-life paintings. He is also known for his remarkable work for architecture.
See T 1/64, TD 28, V 1/212, Ch 1/161, NEČVU 1/68, Alois Bílek, catalogue, NG 1997.
Photograph(25 000 - 32 000)18 000 CZK
(833 - 1 067) 600 EUR
 
502   MACOUN Gustav  (18. 12. 1889 Prague - 7. 10. 1934 Prague)
After a storm
Oil on canvas, 82 x 123 cm, framed, glazed, dated 1929, signed lower left. The painting is an example of the artist's characteristic mood landscapes but also reflects his aim at a faithful rendition of the scene with symbolic overtone. The melancholy mood of the painting, accentuated by the darkened palette, refers to the specific Czech form of Impressionism, introduced by Antonín Slavíček. The composition of the painting is based on two horizontal planes - the earth and the skies - with rich form and colour content.
Czech landscape painter, he was a talented child and started painting early under the guidance of V. Jansa, then he studied under A. Kalvoda and A. Slavíček at the Academy of Fine Arts in Prague. He drew inspiration mainly from the Bohemian Paradise and the Bohemian highlands, e.g. Kameničky. He was a typical Impressionist painter and a devoted follower of A. Slavíček´s conception of landscape painting. He is known for his melancholy autumn and winter landscapes, his paintings reflect his love for trees, clouds and early spring. He remained apart from trends and groups of artists.
See T 2/54, V 3/290.
Photograph(70 000 - 90 000)50 000 CZK
(2 333 - 3 000)1 667 EUR
 
503   HÁŠA Jaroslav  (*6. 10. 1890 Prague)
Motif from the Turnov region
Oil on a copper plate, 12,5 x 13,5 cm, framed, undated [1929], signed lower left. This miniature landscape with staffage is endowed in spite of its small size with rich colour and light effects. It has features of works painted in the open air; emphasis is laid on the atmospheric handling, palette and high skies.
Czech landscape painter, he studied under professor Bukovac and Nechleba at the Academy of Arts in Prague. He painted views of Prague and miniature landscapes, mostly on wood and copper plates, he also produced paintings depicting religious subjects and is known for his portraits (e.g. Josef Mánes, Miroslav Tyrš, Alois Rašín) and views of the Carlstein castle and its interior.
See T 1/301, Ch 3/83.
Photograph(7 000 - 9 000)5 000 CZK
(233 - 300) 167 EUR
 
504   STYKA Adam  (*7. 4. 1890 Kielce)
Motif from Morocco
Oil on canvas, 77 x 63 cm, framed, undated [1920s], signed lower left. The painting reflects the period revived interest in Oriental themes. The motif is rendered in a more or less realist manner but the painter stressed the influence of light on the colour. The figures are defined by organically conceived lines underlining together with expressive facial expression the dynamics of the composition.
Polish painter of genre and illustrator, son of the painter Jan Styka. He studied under Cormon in Paris from 1908 to 1912. He is known for his genre scenes with marked light and colour effects, he drew inspiration from his travels to northern Africa, Morocco and Algiers.
See TB 32/264, B 9/887.
Photograph(55 000 - 65 000)45 000 CZK
(1 833 - 2 167)1 500 EUR
 
505   ŠÍMA Josef  (19. 3. 1891 Jaroměř - 24. 7. 1971 Paris)
Foile grise - Graphique gris
Oil on canvas, 80 x 98 cm, framed, dated 1960, signed lower right, label with title from Galerie Paul Facchetti in Paris at the back. Šíma's late works are characterized by extremely sober and restrained means of expression. He abandoned organic symbolic forms and turned to geometricizing tendencies. Subtle geometric lines almost disappear in the grey luminous space, accentuated by colour in a few places. The painting is impressive as a whole with its shimmering effect and intrinsic quality. This abstract composition may be seen as a resounding surface in which harmony and rhythm come close to the pythagorian "music of spheres".
Czech painter and illustrator, he studied at the Prague Academy of Decorative Arts and under J. Preisler at the Academy of Arts in Prague. In 1921 he joined the avant-garde group Devětsil and that year went to Paris and settled in France for good. His early work reflects the influence of the Purists and Constructivism, later he turned to landscapes of the imagination bringing him close to Surrealism. In 1927 he founded together with a group of Simplists the group Le Grand Jeu. He is known for his phantasmal landscapes of the imagination, which often embody mythological themes. He was preoccupied with light, dematerialization and disintegration of matter in light and space, and his cosmic visions brought him close to lyrical abstraction.
See T 2/529, V 4/282, TB 31/42, B 9/606, NEČVU 2/822, F. Šmejkal: J. Šíma, Prague 1988.
Photograph(1 100 000 - 1 400 000)680 000 CZK
(36 667 - 46 667)22 667 EUR
 
506   VOS Hans de  (27. 6. 1891 Singapur - 1949)
At Bodamsee
Oil on canvas, 49 x 47,5 cm, framed, dated 1921, signed lower right. The colours of this picture and the handling of light refer to sketches executed outdoors, but the brushwork is somewhat constricted - the short linear brushstrokes reflect the artist's stylization efforts. The palette reflects the influence of Impressionism.
German landscape painter and graphic artist, he studied at the Academy of Arts in Weimar under Olde and Hagen, then privately in Dresden under C. Schmidt. In 1919 he settled in Überlingen by the Bodamsee. His paintings and prints were exhibited in Germany, Austria and Switzerland.
See TB 34/553, B 10/573.
Photograph(12 000 - 16 000)8 000 CZK
(400 - 533) 267 EUR
 
507   RONEK Jaroslav  (*22. 5. 1892 Prague)
At the Wilson railway station
Oil on canvas, 67 x 88 cm, framed, undated [1920s], signed lower right. The painter was concerned mainly with subjects representing modern life and marvels of technology. His use of patches of colour, his dynamic brushwork and delicate atmospheric handling is close to Monet's series of paintings rendering subjects of contemporary life (e.g. the Railway Saint-Lazare).
Czech painter of genre, pupil of J. Preisler, his chief theme was the railway and cars.
See T 2/369.
Photograph(20 000 - 25 000)11 000 CZK
(667 - 833) 367 EUR
 
508   BEISCHLÄGER Emil  (23. 9. 1897 Vienna - 1977 Vienna)
Coast in Istria
Oil on cardboard, 43 x 55 cm, framed, undated, signed lower left, stamp of Kunsthandlung Alois Eigl, Linz at the back. The painter represents Austrian modern painting, following and combining namely Impressionist, Fauvist and Expressionist styles. The floodlit coast is rendered with generous broad brush strokes; the bright colours reflect the influence of Fauvism.
Austrian painter, he is known for his landscapes and flower still-lifes. He studied law and after his studies he cooperated with the painter Egge Sturm-Skrla. He drew inspiration from his travels abroad; he travelled around France, Italy, Greece, Yugoslavia, Spain and Egypt. In the 1920s he exhibited exclusively in Wiener Künstlerhaus. From 1924 to 1933 he exhibited in the Vienna Sezession, in 1933 he displayed his work together with Anton Hula in Reichenberg. In 1939 he became a member of Wiener Künstlerhaus and later became its vice president. He exhibited around Europe and was awarded many prizes and awards - in 1956 the gold medal of Künstlerhaus, in 1974 the State award for science and art. Emil Beischläger was one of the most refined realist painters of the interwar period.
See V 1/159, H. Fuchs: Die Österreichischen Maler des 20. Jahrh.
Photograph(23 000 - 30 000)15 000 CZK
(767 - 1 000) 500 EUR
 
509   HOLÝ Miloslav  (4. 7. 1897 Prague - 3. 3. 1974 Prague)
Portrait of a young woman
Oil on canvas, 80 x 60 cm, framed (frame by Kraček), dated 1934, signed lower right, no. 500 at the back. The painting gives an impression of a self-contained whole, which is increased also by the unifying palette - only several distinctive colour accents stand out against the grey and white haze of crossing brush strokes. The colour of the flesh contrasts with the green of the dress, the face is rendered in palpitant brushwork, resulting in a sort of modern "belle materie".
Czech painter and graphic artist, he studied under professor Bukovac, J. Obrovský and M. Švabinský at the Academy of Arts in Prague. Together with K. Holan, P. Kotík and K. Kotrba he founded a group called Social group. He was a member of Umělecká beseda and SČUG Hollar. He belonged to the generation affected by World War I, which resulted in his concern with social subjects in the 1920s. He depicted the life of common people and motifs from the working class outskirts of Prague. After the mid-1920s he turned to landscapes and townscapes, he also produced still-lifes, portraits and nudes. The year 1927 was a turning point in his career; he abandoned figural themes, but still remained sensitive to social aspects. In terms of palette he responded to the French Fauves, in the 1930s he reduced linear elements. He developed a new landscape model, concentrating on space and colour, inspired by Impressionism. During World War II he turned to intimate subjects, family life and nudes. In the 1960s he returned to landscapes of subdued colours.
See T 1/362, TD 72, V 2/479, B 5/599, Ch 3/238, NEČVU 1/277.
Photograph(22 000 - 28 000)15 000 CZK
(733 - 933) 500 EUR
 
510   MRKVIČKA Otakar  (19. 12. 1898 Příbram - 20. 11. 1957 Prague)
A pair
Oil on canvas mounted on plywood, 40 x 50 cm, framed, dated 1944, signed with initials lower left. Provided with an expertise on the painting technique. This figural urban scene is stamped with the influence of early Cubism and the work of Derain. The dark atmosphere of the scene set in the city outskirts brings this painting close to works of members of the group Skupina 42 whose chief theme was urban life. The dominating colour is brown with occasional touches of brighter colours.
Czech painter, illustrator, book designer and stage designer, member of the avant-garde group Devětsil. He studied under E. Dítě and V. H. Brunner at the Academy of Arts and the Academy of Decorative Arts in Prague. His work reflects the changes that occurred in Czech art in the period between the wars, ranging from Poeticism to Constructivism and Artificialism. He is also known for his remarkable stage designs for the theatre Osvobozené divadlo.
See T 2/161, TD 133, NEČVU 1/535.
Photograph(70 000 - 90 000)50 000 CZK
(2 333 - 3 000)1 667 EUR
 
511   VLK Ferdinand  (*13. 11. 1899 Kolín)
Place Padeloup Paris
Oil on canvas, 55 x 47 cm, framed, dated 1927, signed lower left together with title. This lot is a fine sketch of a town motif rendered in darkened but richly nuanced palette.
Czech painter and composer, he studied privately under Max Boháč and B. Kausek, then under professor Thiele at the Academy of Fine Arts in Prague, he travelled around France, Spain and Greece.
See T 2/657.
Photograph(20 000 - 30 000)10 000 CZK
(667 - 1 000) 333 EUR
 
512   VERIS  (ZAMAZAL) Jaroslav (*10. 7. 1900 Vsetín)
Head of a girl
Oil on fibreboard, 49,5 x 39,5 cm, framed, undated [1930s], signed lower right. This painting is an exceptional example of the painter's response to contemporary artistic trends, namely Surrealism. The mimetic function of the painting is disturbed and replaced by free composition of forms and motifs. Both real and abstract elements are present, accentuated by rich colours, and the painter incorporated his favourite motif in the painting - a female figure.
Czech painter of genre, he studied under J. Preisler and V. Nechleba at the Academy of Arts in Prague, then in Vienna and Paris. In Paris he worked in the Louvre making copies of paintings, he was influenced by the work of Dutch and Italian masters, he also painted Impressionist portraits and later turned to the Neoclassical smooth painting technique. He is also known for his book illustrations. He exhibited in Topičův salon, Aventinská mansarda, and in Paris at the Salon d´Automne and Salon des Indépendents.
See T 2/646, V 5/195, TB 36/392.
Photograph(35 000 - 45 000)23 000 CZK
(1 167 - 1 500) 767 EUR
 
513   SLAVÍČEK Jan  (22. 1. 1900 Prague - 5. 4. 1970 Prague)
Flowers in a blue vase
Oil on plywood, 55 x 40 cm, framed, undated [1936], signed lower right, stamp from the exhibition in Mánes from 1936 at the back. This still-life is a fine example of Slavíček's characteristic style, dynamic brushwork and palette, including the use of impasto and defining form with quick strokes of the brush.
Czech landscape and still-life painter, he studied under J. Preisler, V. Nechleba, O. Nejedlý and M. Švabinský at the Academy of Arts in Prague. His early work reflects the influence of his father Antonín Slavíček and of H. Masaryk. His work from the 1920s was stamped with the influence of French Fauvist painters, namely A. Derain and H. Matisse. The work of Braque had an impact on his treatment of composition and in the 1930s he came under the influence of Picasso and late Cubism. He devoted himself to landscape and still-life painting; his paintings are impressive due to the emotionally dramatic colour composition and restless brushwork. In the 1940s he followed in the footsteps of his father and concentrated on large-scale panoramic paintings of Prague.
See T 2/461, TD 167, V 4/297, TB 31/130, B 9/644, NEČVU 2/757.
Photograph(55 000 - 75 000)40 000 CZK
(1 833 - 2 500)1 333 EUR
 
514   BOUDA Cyril  (14. 11. 1901 Kladno - 29. 8. 1984)
Shops in Paris
Oil on canvas, 52 x 74 cm, framed, dated 1932, signed lower left. The painting was displayed at the exhibition of Cyril Bouda, selected works in Belvedere, June-April, 1982, organized by the National Gallery in Prague, cat. p. 56, no. 4. The painter renders a common, everyday scene from the streets of Paris, the lure for artists in the early decades of the 20th century. Works rendering informal motifs of everyday life and reflecting modern lifestyle were popular with artists pertaining to the period movement of Civilism. In this lot Bouda presents a faithful picture of a street motif, including such details as advertising slogans.
Significant Czech graphic artist, painter, designer and illustrator, he studied under F. Kysela at the Academy of Decorative Arts in Prague and under M. Švabinský at the Prague Academy of Fine Arts, he was appointed professor at Charles University, member of SČGU Hollar. His Classicist feeling stems from his admiration of Italian Renaissance art, he travelled to Italy regularly since the 1920s. He became known for his remarkable drawings and illustrations. He loved music and poetry, was interested in history, and was a remarkable storyteller with a sense of humour and a feeling for detail, which all reflects in his illustrations and graphic oeuvre, mainly still-lifes and vedutas. He mastered all the classical printing techniques; from 1945 he produced mainly wood engravings, copper plate engravings and etchings, later on lithographs.
See T 1/83,2/756, TD 32, V 1/281, Ch 1/200, NEČVU 1/82.
Photograph(200 000 - 300 000)100 000 CZK
(6 667 - 10 000)3 333 EUR
 
515   SVOBODA Josef  (*24. 4. 1901 Mariánské Lázně)
Summer afternoon at the river
Oil on canvas, 89 x 89 cm, framed, undated [1930s], signed lower right. This lot is an example of Svoboda's mature painting executed outdoors and his response to Impressionist issues related to the effects of light on modellation of form. Forms are defined by thick layers of paint with traces of the palette knife and swift brush strokes.
Czech painter and graphic artist, he studied at different academies of art in Europe, he travelled widely around Europe and Northern Africa and is known for his landscapes.
See T 2/509, TD 180.
Photograph(25 000 - 32 000)18 000 CZK
(833 - 1 067) 600 EUR
 
516   ŽUFAN Bořivoj  (11. 1. 1904 Prague - 3. 3. 1942 Prague)
Landscape with a river
Oil on cardboard, 45 x 62 cm, framed, undated [1920s], signed lower right, label of the Slovak National Gallery dated 1979 at the back. The composition of this landscape is based on stylized natural forms creating a dynamic rhythm; the painting is rendered in brisk summarizing brush strokes and thin paint.
Painter of genre, he studied under V. H. Brunner and K. Dvořák at the Academy of Decorative Arts in Prague and then under O. Nejedlý at the Academy of Fine Arts in Prague.
See T 2/752, TD 221, V 5/218, NEČVU 2/971.
Photograph(32 000 - 40 000)25 000 CZK
(1 067 - 1 333) 833 EUR
 
517   STŘÍBRNÝ Vladimír  (*7. 10. 1905 České Budějovice)
Deep in thought
Oil on canvas mounted on cardboard, 58 x 48 cm, framed, undated [1930s], signed lower right. This painting of a half-length female figure derives from Neo-Classicist trends of the first quarter of the 20th century. The figure is composed of enclosed plastic forms contrasting with the richly coloured drapery. The plasticity of the figure is accentuated by the flesh colour and green shade of the background.
Czech painter of genre, he studied under J. Obrovský and V. Nechleba at the Academy of Arts in Prague. He travelled widely, namely around France, Italy and Germany. He is known for his academic paintings, portraits, nudes and mythological portraits, remarkable painting technique and his concern for detail. See T 2/498, TD 177, V 4/376, NEČVU 2/795.
Photograph(14 000 - 18 000)9 000 CZK
(467 - 600) 300 EUR
 
518   STŘÍBRNÝ Vladimír  (*7. 10. 1905 České Budějovice)
Bouquet of flowers in a jug
Oil on canvas, 62 x 48 cm, framed, dated 1941, signed lower left. This bouquet of flowers standing out against a neutral brown background is executed in dynamic brushwork with forms modelled in impasto.
Czech painter of genre, he studied under J. Obrovský and V. Nechleba at the Academy of Arts in Prague. He travelled widely, namely around France, Italy and Germany. He is known for his academic paintings, portraits, nudes and mythological portraits, remarkable painting technique and his concern for detail. See T 2/498, TD 177, V 4/376, NEČVU 2/795.
Photograph(20 000 - 30 000)11 000 CZK
(667 - 1 000) 367 EUR
 
519   FIŠÁREK Alois  (16. 7. 1906 Prostějov - 5. 2. 1980 Prague)
Still-life with fruit
Tempera on cardboard, 27 x 39 cm, framed, glazed, dated 1940, signed lower left, label with the stamp of the National Gallery in Prague at the back. This still-life is characterized by clearly defined forms with emphasis laid on lines and outlines; colour is used to accentuate the nature of the object or to emphasize plasticity.
Czech painter, he studied under professor V. Nechleba at the Academy of Arts in Prague and went on study stays to France and Italy. In 1932 he became a member of union of artists SVU Mánes, later he joined the Group of Artists (Skupina výtvarných umělců) in Brno. Initially he was a devotee of bright colours, in the late 1920s he responded to tendencies at reviving the Fauvist cult of colours, he was also influenced by lyrical Cubism. In the late 1930s and during the war he turned to motifs from old streets, squares and orchards. His friendship with the painter A. Wachsmann brought forward the synthesis of his landscape motifs with still-life motifs in metaphorical paintings reflecting the grim times of the war. He is also known for his tapestries and stained glass windows.
See T 1/124, TD 55, V 2/110, B 4/377, Ch 2/256, NEČVU 1/182.
Photograph(20 000 - 25 000)15 000 CZK
(667 - 833) 500 EUR
 
520   JIŘINCOVÁ Ludmila  (9. 5. 1912 Prague - 22. 1. 1994 Prague)
Gossip
Oil on cardboard, 22 x 14,5 cm, framed, undated, signed lower right. This figural theme is set in a historicizing atmosphere. The three stylized dark figures are in contrast with the intensive coloured background as well as the light in the foreground. The painter concentrated mainly on the faces, which she modelled with the use of white into an organic relief.
Czech painter, graphic artist and illustrator, she studied under Professor Tavík Šimon at the Academy of Arts in Prague. She is known for her lyrical themes and refined technique, initially she was concerned with landscapes and motifs from South Bohemia, during the war she concentrated on motifs of lonely women - widows, in the 1970s she returned to female figures. She created over 1200 prints and illustrated over 300 books, she designed ex-libri, stamps and posters. She was a member of the SČGU Hollar. She took part in many major exhibitions of Czech art at home and abroad.
See T 1/440, TD 85, V 5/191, Ch 4/287, www.sca-art.cz, NEČVU 1/327.
Photograph(40 000 - 60 000)23 000 CZK
(1 333 - 2 000) 767 EUR
 
521   ISTLER Josef  (13. 11. 1919 Prague - 19. 6. 2000 Prague)
Object
Oil on canvas, 60 x 40 cm, framed, dated 1962, signed in the left centre. The painting reflects the influence of geometrical abstraction (the division of the surface) as well as expressive abstract tendencies (dynamic scenes in some parts of the painting). The technique of dripping is derived from the abstract expressive experiments of the New York school (e.g. J. Pollock) but was used earlier by Surrealist painters (M. Ernst was apparently the first to use this technique). The painting oscillates between rational geometrical premeditation and accident, which is present in the splashes of bright colours on the canvas. Surrealist artists exploited "the accidental and unpremeditated" in their work.
Czech painter and graphic artist, he studied under W. Hofner in Yugoslavia, he was a significant figure of Czech post-war Surrealism and a contemporary of Mikuláš Medek. In 1941 he met K. Teige and Toyen who had a great impact on his artistic development. From 1942 he began cooperating with members of the group Ra and in 1945 he became a member of the union of artists SVU Mánes. At the beginning of his career he responded to Artificialism but later he developed his specific style apparent in his paintings, graphics and drawings. From the 1940s he was concerned with allusive objectivity leading to his own system of signs. He linked imaginative pictures with lyrical treatment of the painting matter close to abstract painting. His entire work reflects the results of a fruitful tension between two poles. He is also known for his book illustrations.
See T 1/407, B 5/740, Ch 4/100, NEČVU 1/306, www.sca-art.cz.
Photograph(40 000 - 50 000)28 000 CZK
(1 333 - 1 667) 933 EUR
 
522   MATAL Bohumír  (13. 1. 1922 Brno - 7. 7. 1988 Prudká near Tišnov)
Abstract composition
Oil on pasteboard, 80 x 63 cm, framed, dated 1971, signed lower right. The composition is composed of geometrically conceived shapes, the colour surfaces are defined by marked outlines. The shapes are organized mainly around the central vertical axis, which increases the impression of harmony and order; however the composition also has dynamic rhythm with changing directions and angles. The painter used a remarkable palette of dark shades of colour evoking a specific mood.
Czech painter, he was a member of the group Skupina 24, in the 1960s he turned to abstract painting and was concerned with issues related to form.
See T 2/107, B 7/250, NEČVU 1/490.
Photograph(140 000 - 160 000)120 000 CZK
(4 667 - 5 333)4 000 EUR
 

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