FRANZ SEDLACEK (Wroclaw 1891 - 1945 missing) Burning house charcoal and white highlights/paper, 32,4 x 30,5 cm ESTIMATE € 2000 - 4000 STARTING PRICE € 2000 Austrian painter of the 20th century, especially of the interwar period. Main representative of the New Objectivity. Born in Breslau and grew up in Linz in Upper Austria. Studied architecture and chemistry in Vienna from 1910. Together with Anton Lutz, Franz and Klemens Brosch and Heinz Bitzan, he founded in 1913 the Linz artists' association MAERZ. Worked from 1921 at the Technical Museum in Vienna in the Department of Chemical Industry. 1927 Member of the Vienna Secession. From 1928 friendship with Herbert Reyl-Hanisch, also stylistic proximity to his works.. 1939 War deployment in Stalingrad, Norway and Poland, considered missing in action since 1945. Inspired by the art of Romanticism and Flemish-Dutch painting by Joachim Patinier, Joss de Momper, Pieter Bruegel the Elder and Michael Wuttky. Stylistically located between Magic Realism and New Objectivity. Created mainly romantic landscapes, magical worlds, floral still lifes and winter pictures with skiers or snowball fights in old master painting style. In the dream worlds cavort bizarre and grotesque creatures combined with set pieces from technology and everyday life. Fantastic, partly gloomy mood reminds one of Alfred Kubin or the texts of Gustav Meyrink and Edgar Allen Poe. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographs 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
FRANZ SEDLACEK (Wroclaw 1891 - 1945 missing) Piano player, 1909 pencil/paper, 17,5 x 15,5 cm monogrammed FS, dated 09 verso further pencil drawing of the pianist ESTIMATE € 1600 - 3000 STARTING PRICE € 1600 Austrian painter of the 20th century, especially of the interwar period. Main representative of the New Objectivity. Born in Breslau and grew up in Linz in Upper Austria. Studied architecture and chemistry in Vienna from 1910. Together with Anton Lutz, Franz and Klemens Brosch and Heinz Bitzan, he founded in 1913 the Linz artists' association MAERZ. Worked from 1921 at the Technical Museum in Vienna in the Department of Chemical Industry. 1927 Member of the Vienna Secession. From 1928 friendship with Herbert Reyl-Hanisch, also stylistic proximity to his works.. 1939 War deployment in Stalingrad, Norway and Poland, considered missing in action since 1945. Inspired by the art of Romanticism and Flemish-Dutch painting by Joachim Patinier, Joss de Momper, Pieter Bruegel the Elder and Michael Wuttky. Stylistically located between Magic Realism and New Objectivity. Created mainly romantic landscapes, magical worlds, floral still lifes and winter pictures with skiers or snowball fights in old master painting style. In the dream worlds cavort bizarre and grotesque creatures combined with set pieces from technology and everyday life. Fantastic, partly gloomy mood reminds one of Alfred Kubin or the texts of Gustav Meyrink and Edgar Allen Poe. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographs 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
FRANZ SEDLACEK (Wroclaw 1891 - 1945 missing) The writer, 1937 lithography/paper, 36 x 27,5 cm signed F. Sedlacek, mongrammed and dated in the plate fs 1937 inscribed Der Schriftsteller, Orig. Lithografie ESTIMATE € 1000 - 2000 STARTING PRICE € 1000 Austrian painter of the 20th century, especially of the interwar period. Main representative of the New Objectivity. Born in Breslau and grew up in Linz in Upper Austria. Studied architecture and chemistry in Vienna from 1910. Together with Anton Lutz, Franz and Klemens Brosch and Heinz Bitzan, he founded in 1913 the Linz artists' association MAERZ. Worked from 1921 at the Technical Museum in Vienna in the Department of Chemical Industry. 1927 Member of the Vienna Secession. From 1928 friendship with Herbert Reyl-Hanisch, also stylistic proximity to his works.. 1939 War deployment in Stalingrad, Norway and Poland, considered missing in action since 1945. Inspired by the art of Romanticism and Flemish-Dutch painting by Joachim Patinier, Joss de Momper, Pieter Bruegel the Elder and Michael Wuttky. Stylistically located between Magic Realism and New Objectivity. Created mainly romantic landscapes, magical worlds, floral still lifes and winter pictures with skiers or snowball fights in old master painting style. In the dream worlds cavort bizarre and grotesque creatures combined with set pieces from technology and everyday life. Fantastic, partly gloomy mood reminds one of Alfred Kubin or the texts of Gustav Meyrink and Edgar Allen Poe. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographs 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
(Breslau 1891–1945 Thorn, Poland) “Winterlandschaft” (Winterlandscape), monogrammed and dated FS 1933, on old mount inscribed by the artist on the reverse FRANZ SEDLACEK / WIEN 1933 / “WINTERLANDSCHAFT” (II.), watercolor on paper, 30.4 x 38.5 cm, framed Provenance: Private Collection, Austria Exhibition: probably identic with the "Winterlandschaft", listed in Linz, Oberösterreichisches Landesmuseum, Graphische Ausstellung des Künstlerbundes MAERZ, April – Mai 1935 as well as in Linz, Neue Galerie, 1952. We are grateful to Dr. Gabriele Spindler and Dr. Andreas Strohhammer for confirming the authenticity of this work and for their help in cataloguing this work.
(Breslau 1891–1945 Thorn, Poland) “Der Zauberer und der Harlekin”, signed with the artist’s monogram and dated FS 1927, on the reverse a label stamped Vereinigung Bildender Künstler Wiener Secession and inscribed Dr. Franz Sedlacek “Der Zauberer und der Harlekin”, also stamped Deutsche Kunstgemeinschaft and numberd 1233, oil on board, 78 x 73 cm, framed Franz Sedlacek was a chemist by training and a self taught artist. As a chemist he did experiment with colour recipes which led in some works to early paint shrinkage and craquelure. Sedlacek is known to have restored some of his works himself early on. Registered and illustrated: Elisabeth Hintner, Franz Sedlacek. Werk und Leben 1891–1945, Karolingen Verlag, 1990, p. 44 Gabriele Spindler/Andreas Strohhammer, Franz Sedlacek. Monografie mit Verzeichnis der Gemälde, im Kinsky Editionen, Christian Brandstätter Verlag 2011, p. 11 (larger illustration) and catalogued p. 166/WV38 (with small illustration) Literature: Velhagen und Klasings Monatsheft, October 1927, p. 228 f. (ill.) Illustration: Österreichische Nationalbibliothek ÖNB Digital, https:/onb.digital/result/112AF87E - there titled: Harlekin ruft den Gelehrten / Harlequin Calling the Scholar ...And I dipped my face Into the light and into me, And I dissolve in the I And the I evaporates And I remain above me: Chemically pure and unsmudged, New and beautifully crystallised. Franz Sedlacek - from the poem "Ode to Me" (written at the age of 18) ....Multiple stylistic or iconographic parallels can be drawn between Franz Sedlacek and the work of Edward Hopper. This is why he, in particular, should be singled out from the ranks of American precisionists. 46 First of all, it should be noted that Sedlacek and Hopper, who probably never met in person, clearly shared some interests and stages of artistic development. Both had a graphic arts background, illustrated and worked for journals, were members of artists' associations (Sedlacek of Maerz since 1913, Künstlerhaus 1924, Wiener Secession 1927; Hopper of the Whitney Studio Club since 1914, National Institute of Arts and Letters 1945, the Reality group 1952), were interested in photography, liked to visit the cinema (Hopper is considered an absolute cinephile!) and enjoyed travelling by train and car. Stylistically, Hopper presents himself as a realist at first glance; however, all his works show unexpected, sometimes bizarre breaks with reality that cannot be accidental. All artists have searched for contemporary pictorial solutions to redefine or reinvent space since the great break with academic-traditional painting by the Impressionists in the 19th century. The works of the 20th century painters in particular are characterised by the destabilisation of their depicted spaces and related contextual incoherence, which evokes uncertainty and unease in the viewer. Lighting and colour further dramatise the everyday; and the confused viewer searches the picture for the individual elements of a narrated story. A focus in Hopper's work is on the relationship between interior and exterior spaces and how they affect the people depicted in them. Franz Sedlacek always allows the gaze of his figures to be averted from the viewer, to flee the mostly dark, sparsely furnished interiors into the friendly, bright landscapes, even to "escape". Elisabeth Hintner, in: Sedlacek 1990
FRANZ SEDLACEK (Breslau 1891 - 1945 verschollen) Above the Hallstatt glacier (Dachstein), 1938 oil/ply wood board, 53,2 x 41,9 cm signed FS, dated 1938 verso inscribed Franz Sedlacek Wien 1938 „ueber dem Hallstaetter Gletscher“ (Dachstein) dedication: In Erinnerung an die Dachsteintour mit meinen Freunden Oskar und Helmut Keidel im Fruehjahr 1936 (in memory of the Dachstein tour with my friends Oskar and Helmut Keidel in spring 1936) label of the exhibition in Kuenstlerhaus 1939, 146, cat.-Nr. 696 depicted in Funkturm Berlin, nr. 584, p. 100; in Scherl’s Magazin, march 1939; in Hintner 1987, p. 280 nr. 118 and in cat. raisonné Franz Sedlacek 2011, p. 211, WV 128 ESTIMATE € 250000 - 350000 STARTING PRICE € 250000 Austrian painter of the 20th century, especially of the interwar period. Main representative of the New Objectivity. Born in Breslau and grew up in Linz in Upper Austria. Studied architecture and chemistry in Vienna from 1910. Together with Anton Lutz, Franz and Klemens Brosch and Heinz Bitzan, he founded in 1913 the Linz artists' association MAERZ. Worked from 1921 at the Technical Museum in Vienna in the Department of Chemical Industry. 1927 Member of the Vienna Secession. From 1928 friendship with Herbert Reyl-Hanisch, also stylistic proximity to his works.. 1939 War deployment in Stalingrad, Norway and Poland, considered missing in action since 1945. Inspired by the art of Romanticism and Flemish-Dutch painting by Joachim Patinier, Joss de Momper, Pieter Bruegel the Elder and Michael Wuttky. Stylistically located between Magic Realism and New Objectivity. Created mainly romantic landscapes, magical worlds, floral still lifes and winter pictures with skiers or snowball fights in old master painting style. In the dream worlds cavort bizarre and grotesque creatures combined with set pieces from technology and everyday life. Fantastic, partly gloomy mood reminds one of Alfred Kubin or the texts of Gustav Meyrink and Edgar Allen Poe. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographys 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
FRANZ SEDLACEK (Wroclaw 1891 - 1945 missing) Winter Landscape with Tower oil/wood, 47,1 x 63 cm monogrammed fs and dated 1933 verso inscribed Franz Sedlacek Wien, 1933 "Winterlandschaft mit Turm", as well as label of the Vereinigung Bildender Künstler Vienna Secession exhibited at the Vienna Secession in 1933 depicted in the 1933 Secession catalog I, no. 57; in The Painter and Graphic Artist Dr. Franz Sedlacek, dissertation Innsbruck 1987, p. 257, no. 78; in the exhibition catalog Neue Sachlichkeit, Kunstforum Vienna 1995, p. 65, fig. 69; in the catalog raisonné of Franz Sedlacek, Vienna 2011, p. 96 and p. 189, with the number WV 88 Provenance: private collection Hungary, Fine Arts Widder Vienna, European private collection ESTIMATE € 400.000 - 800.000 Austrian painter of the 20th century, especially of the interwar period. Main representative of the New Objectivity. Born in Breslau and grew up in Linz in Upper Austria. Studied architecture and chemistry in Vienna from 1910. Together with Anton Lutz, Franz and Klemens Brosch and Heinz Bitzan, he founded in 1913 the Linz artists' association MAERZ. Worked from 1921 at the Technical Museum in Vienna in the Department of Chemical Industry. 1927 Member of the Vienna Secession. From 1928 friendship with Herbert Reyl-Hanisch, also stylistic proximity to his works.. 1939 War deployment in Stalingrad, Norway and Poland, considered missing in action since 1945. Inspired by the art of Romanticism and Flemish-Dutch painting by Joachim Patinier, Joss de Momper, Pieter Bruegel the Elder and Michael Wuttky. Stylistically located between Magic Realism and New Objectivity. Created mainly romantic landscapes, magical worlds, floral still lifes and winter pictures with skiers or snowball fights in old master painting style. In the dream worlds cavort bizarre and grotesque creatures combined with set pieces from technology and everyday life. Fantastic, partly gloomy mood reminds one of Alfred Kubin or the texts of Gustav Meyrink and Edgar Allen Poe. Franz Sedlacek is indisputably one of the most extraordinary painters of the Austrian interwar art scene. Long forgotten, the studied chemist was celebrated as a new discovery among the fantastic realists in the late 1970s. Sedlacek initially focused on graphics before turning to oil painting. Here he made a noise in the world with new-objective pictures painted in the glaze technique of the old masters. A magical, surreal moment is always inherent in his precisely designed paintings. In addition to still lifes, landscapes with many figures play the most important role in his work. In the early 1930s, Franz Sedlacek created a series of four urban winter landscapes. They reveal Sedlacek's relation to German Romanticism and, in particular, his examination of the work of Caspar David Friedrich, whose light drama and silhouette effect noticeably influenced Sedlacek's work. Three of these cityscapes hang in important public collections. The fourth present picture, like its creator himself, has been considered lost since the war. The rediscovery of this major work of New Objectivity (Neue Sachlichkeit), which would do credit to any museum, can without exaggeration be rated as a sensation. Meticulously composed down to the last detail, the winter landscape from 1933 under a dark sky is an excellent example of Sedlacek's technical and artistic mastery. The mysterious is metaphorically combined with twilight, dusk and night. The art of painting moves in the infinite mixture of light and dark; between the poles of unambiguity and ambiguity. Intuitions, fears, assumptions and danger unsettle us. The second half of the 19th century was downright “addicted to twilight”, not only in the visual arts, but also in poetry and music. The "shady", sinister characters of romance and the Gothic Revival moved from godforsaken landscapes, deep forests, dilapidated castles and monasteries to the cities in the 20th century. Hans Holländer writes: "Gustav Meyrink's Golem haunts the old Prague ghetto, Kubin's utopian city fantasy consists of old, disreputable houses, and often the special, thoroughly dubious effect is the non-simultaneity of the simultaneous with the collision of the old with the new." Franz Sedlacek himself wrote a posthumously published fantastic story entitled Die Stadt, which states: “Our city was short 40,000 inhabitants, traversed by a winding River stream and lay at the foot of a mighty mountain range, that crashed towards her in terrible cliffs from the north. These walls were cut by numerous gorges, through wich the small and larger torrents came down as waterfalls came down, which then joined the river mostly through vaulted canals.” At first glance, the scenery of the painting shows with the perspective depth effect typical of Sedlacek happy people in a snowy urban landscape with sculpturally modeled buildings in front of a snowy hill and, farther in the background, a snow covered mountain range. The adults walk peacefully their path, the children clearly have fun. Does the tower foreshadow something gloomy, or does it rather stands for protection and defiance, while the actual menace lurks in the distant white mountains, in this cold, infinite universal landscape? It is this abysmal mysteriousness that captivates the viewer and makes us contemplate the human condition. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked ° in the catalog), a premium of 24% is added to the highest bid. The mandatory sales tax of 13% is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
Franz Sedlacek (Austrian, 1891-1944) Landschaft mit Jager, 1926 oil on board initialed FS and dated (lower left); signed, dated, titled, and inscribed Wien (verso) 26 x 21 1/2 inches. Property from the Estate of Jost Hermand, Madison, Wisconsin; Sold to Benefit the University of Wisconsin Foundation Provenance: The Artist's family, Bad Gastein, Austria, c. 1930 Galerie Hasfurther, Vienna, 1978-85 Sold: Wiener Secession und Galerie Hassfurther, Vienna, May 26, 1979, Lot 247 Sold: Hassfurther Auktionen, Vienna, March 31, 1984, Lot 117 Acquired at the above by the present owner Exhibited: Linz, Oberosterreichisches Landesmuseum, Landesgalerie, Neo-Romanticism and New Objectivity in Upper Austria, Christmas exhibition of the Upper Austrian State Museum, 1929, cat. no. 57 Linz, Wolfgang-Gurlitt-Museum, Neue Galerie der Stadt, Franz Sedlacek, 1952, cat. no. 6 Galerie Hassfurther, Vienna, 1978 Vienna, Weiner Secession und Galerie Hassfurther, Austrian Art 1880-1945, 1979 Literature: Hermann Ubell, "Franz Sedlacek, the Neoromantic," Bilderwoche der Tagespost, 27, November, 1932, p. 1f Elisabeth Hintner-Weinlich, The Painter and Graphic Artist Dr. Franz Sedlacek, PhD diss., Innsbruck, 1987, p. 226, no. 24 Elisabeth Hintner, Franz Sedlacek. Work and Life 1891-1945, 2. Vienna, 1990, p. 39, fig. 7 Gabriele Spindler and Andreas Strohhammer, Franz Sedlacek 1891-1945: Monografie mit Verzeichnis der Gemalde, Vienna, 2011, p. 163, WV 31, illus.
Oil on thin cotton, mounted on cardboard Monogrammed and dated lower right 17,2 x 16 in framed Provenance: According to the current owner, the work was very likely bought directly from the artist, around 1928. Karl Rehn was a jeweler in Prague and among others Chairman of the Czech Jewelers' Guild. In the archive of the Wien Museum there is an album by Sedlacek, in which a picture of the second version of the Landscape with Hunter from 1928 can be found (see picture). The present work could be the first version of this work.
lithography, Verso signed, 15,3 x 12 inch, framed from the estate of Franz Sedlacek, Elisabeth Lauda_Sedlacek - artist's daughter June 2008 RefMod30418
Franz Sedlacek (1891-1945) Die straße signed with the monogram and dated 'f s 39' (lower left); signed and inscribed 'FRANZ SEDLACEK WIEN "DIE STRASZE"' (on the reverse) oil on panel 29 1/2 x 43 1/4 in. (75 x 110 cm.) Painted in 1939
Franz Sedlacek (Austrian, 1891-1945), "Landschaft" "...mit Vulcan" (Landscape with Volcano), oil on wood, monogrammed and dated at lower left, inscribed on the verso "Franz Sedlacek / Wien, Marz, 1927 / Landschaft mit Vulcan / Preis S." and retaining old label with inscription, presented in a 19th century gilt composition frame. SS 30.25 x 28.5 in.; DOA 36 x 34.5 in. From the Collection of Kent & Ann Seeley, Raleigh, NC Collection of Dr. Mark Sheppard, St. Petersburg, FL Untouched estate condition - scattered paint flakes, degraded varnish; no evidence of touch-ups visible under back light inspection.
Franz Sedlacek (Breslau 1891-1945) "Kleines Waldgeschöpf ", monogrammiert, datiert FS 1942, Bleistift auf Papier auf Karton, Passep.-Ausschnitt 23 x 17,5 cm, gerahmt, (K)
Franz Sedlacek (Breslau 1891-1945 missing) 'Ghost above Trees', titled on the reverse, monogrammed and dated FS 1931, charcoal on paper, 45.5 x 34 cm, (K) Compare: Elisabeth Hintner, Franz Sedlacek, Werk und Leben, Karolinger Verlag, Vienna 1998, p. 91 (a variant, pen drawing of 1932) Provenance: Galerie Ariadne, Vienna Loaned frame COLLECTION LILL
Franz Sedlacek (Breslau 1891-1945 missing) 'Ghost above Trees', titled on the reverse, monogrammed and dated FS 1931, charcoal on paper, 45.5 x 34 cm, (K) Compare: Elisabeth Hintner, Franz Sedlacek, Werk und Leben, Karolinger Verlag, Vienna 1998, p. 91 (a variant, pen drawing of 1932) Provenance: Galerie Ariadne, Vienna Loaned frame
Franz Sedlacek (Breslau 1891-1944 ?) Lied in der Dammerung ol auf Holz 60,2 x 80 cm Monogrammiert und datiert links unten: FS 1931 Ruckseitig beschriftet: Franz Sedlacek Wien 1931 Lied in der Dammerung 2. Fassung Provenienz: laut Auskunft des Vorbesitzers uber 20 Jahre in osterr. Privatbesitz Literatur: Vgl: Elisabeth Hintner, Franz Sedlacek-Werk und Leben-1891-1945, Wien 1990, S. 116, Katnr. 63 Lied in der Dammerung, 1936, Feder/Papier) Ab 1920 wurde die olmalerei zentrales Anliegen in Franz Sedlaceks Schaffen, in welcher er nach einer kurzen braun-blauen Phase zu jenen in altmeisterlicher Lasurtechnik meist auf Holztafeln ausgefuhrten Gemalden gelangte, die die unverwechselbare Handschrift dieses Kunstlers tragen. Es handelt sich dabei um Bilder mittleren Formats, die sich im Wesentlichen folgenden thematischen Gruppen zuordnen lassen: jener der idyllisch- marchenhaften Landschaften (welcher auch die Gemalde nach literarischer Vorlage, besonders biblische Szenen wie die verschiedenen Fassungen der Flucht nach Žgypten, angehoren), der Stadtbilder, der Grotesken und Burlesken, sowie der Stilleben. Fast alle davon sind mit jenen unnachahmlichen, stark glanzenden Firnis uberzogen, den der Chemiker Sedlacek nach langwierigen Experimenten entwickelte, um seinen Arbeiten die Brillanz der Farben und die irreale Scharfe des Lichts zu verleihen. Diese Eigenschaft ruckte sein Oeuvre ebenso wie die vollstandige Ausmerzung des Pinselduktus, das fallweise Einbeziehen der Technik in ein Werk, und die Vorliebe fur Bildgegenstande von einfacher, geschlossener Form in die stilistische Nahe der Neuen Sachlichkeit. (...)
Franz Sedlacek (born 1891 in Breslau) "Across the Hallsatt Glacier" verso), "Ski Tour Across the Dachstein", monogrammed and dated FS 1938, with a dedicatory inscription, In remembrance of the ski tour across the Dachstein in 1936, dedicated-my friends Oskar and Helmut Keidel, Vienna, May 1939, Franz Sedlacek, pencil on paper, sight area 29.5 x 23.3 cm, foxing, (K) Estimate: E2200-3600 EURO
