Carl Moll
(Vienna 1861–1945)
„Begonie“ (Begonia), 1930, monogrammed CM, titled on an old collection label on the reverse as well as (incorrectly) dated 1933, inscribed on the stretcher „Begonien II / SANARY III“, oil on canvas, 57 x 55 cm, framed
Provenance:
Estate of the artist, Vienna
by descent to Anton Klement (1886–1965), Vienna
Private Collection, Lower Austria (by descent from the above)
Compare:
Cornelia Cabuk, Carl Moll, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, cat. rais. nos. GE 450-456
We are grateful to Dr. Cornelia Cabuk and Dr. Franz Smola, Belvedere for confirming the authenticity of this work and for the inclusion of the painting in the catalog raisonné under the no. GE 456 A.
In 1930, Carl Moll painted a series of floral still-lifes under the influence of his younger colleague Robin Christian Andersen, one of which, “Still Life with Blue Bottle”, was acquired by the Belvedere. Like this one, the “Begonia” in the Klement Collection shows a new boldness of color and a different orchestration of light, which, emerging more from the back, dancing along the edges, gives the objects a certain plasticity, a powerful presence.
Bid on this lot
(Vienna 1861–1945)
„Begonie“ (Begonia), 1930, monogrammed CM, titled on an old collection label on the reverse as well as (incorrectly) dated 1933, inscribed on the stretcher „Begonien II / SANARY III“, oil on canvas, 57 x 55 cm, framed
Provenance:
Estate of the artist, Vienna
by descent to Anton Klement (1886–1965), Vienna
Private Collection, Lower Austria (by descent from the above)
Compare:
Cornelia Cabuk, Carl Moll, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, cat. rais. nos. GE 450-456
We are grateful to Dr. Cornelia Cabuk and Dr. Franz Smola, Belvedere for confirming the authenticity of this work and for the inclusion of the painting in the catalog raisonné under the no. GE 456 A.
In 1930, Carl Moll painted a series of floral still-lifes under the influence of his younger colleague Robin Christian Andersen, one of which, “Still Life with Blue Bottle”, was acquired by the Belvedere. Like this one, the “Begonia” in the Klement Collection shows a new boldness of color and a different orchestration of light, which, emerging more from the back, dancing along the edges, gives the objects a certain plasticity, a powerful presence.
