Carl Moll Paintings & Artwork for Sale | Carl Moll Art Value Price Guide

Jun. 17, 2026
CARL MOLL: IN DER AU
Est: €25,000 - €50,000
Carl Moll In der Au c. 1900 oil on panel; framed 26.5 x 34.5 cm monogrammed on the lower right: CM private property, Austria; auction house im Kinsky, 21 June 2012, no. 941; private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, GE 153, illus. p. 149 private property, Austria; auction house im Kinsky, 21 June 2012, no. 941; private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, GE 153, illus. p. 149 differential taxation
Auction House im Kinsky
Jun. 17, 2026
CARL MOLL: PRATER, KALTE LACKE
Est: €50,000 - €100,000
Carl Moll Prater, Kalte Lacke c. 1928 oil on panel; framed 35 x 35,5 cm monogrammed on the lower left: CM inscribed on original label by the hand of the artist on the reverse: Carl Moll / Prater - Kalte Lacke private property, Austria; auction house im Kinsky, 17 June 2012, no. 60; private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, GE 405, illus. p. 234 private property, Austria; auction house im Kinsky, 17 June 2012, no. 60; private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, GE 405, illus. p. 234 differential taxation
Auction House im Kinsky
Jun. 17, 2026
CARL MOLL: DORF SMARADES AUF CORFU
Est: €7,000 - €14,000
Carl Moll Dorf Smarades auf Corfu 1888 oil on panel; framed 14 x 20 cm signed, dated and titled on the lower left: Moll / Corfu / 88 label with dedication by the hand of the artist on the reverse: "Dorf Smarades auf Corfu" aus meiner Lehrzeit / 1888 / seinem jüngsten Freunde Paul zum 14. / Carl Moll / "auch ich war ein Jüngling mit lockigem Haar". 1994 private property, Germany; auction house im Kinsky, 13 November 2012, no. 171; private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, no. GE 33, illus. p. 117 1994 private property, Germany; auction house im Kinsky, 13 November 2012, no. 171; private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, no. GE 33, illus. p. 117 differential taxation
Auction House im Kinsky
May. 19, 2026
Carl Moll
Est: €40,000 - €60,000
(Vienna 1861–1945) Blick auf den Donaukanal mit der Augartenbrücke (The Donaucanal with the Augarten-Bridge, Vienna), c. 1900, monogrammed CM, oil on canvas, 26.5 x 35.5 cm, framed Listed and illustrated: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, GE 151 Provenance: Private Collection, USA Sale: Dorotheum Vienna, 10 December 1985, lot 260 Private Collection, Vienna In 1873, one of the first iron bridges over the Danube, the "Maria Theresien Bridge," was completed. Four granite portal pillars with allegorical bronze figures gave it a majestic appearance, as it connected the inner city with the Augarten via Maria-Theresien-Strasse. Carl Moll took an elevated position, likely from one of the buildings on the Schottenring, capturing the lively activity in the square from a bird's-eye perspective. Documenting important city squares that emerged during the modernization process (such as the Elisabeth Bridge, the Votive Church, and others) was a particular focus for the painter just before 1900. In this painting, however, he shed the realism of his early style period. With short brushstrokes, a slight blur, and the contrast between shaded and sunny areas, the artist conveys a wonderful impression of the scene. The painting also serves as an important urban document due to the destruction of the bridge during World War II. Furthermore, the combination of horse-drawn carriages and electric trams is a testament to this transitional period towards technical modernity.
Dorotheum
May. 19, 2026
Carl Moll
Est: €50,000 - €80,000
(Vienna 1861–1945) Frühling in Grinzing (Springtime in Grinzing, Vienna), c. 1903, signed C. MOLL, oil on canvas, 60 x 60 cm, framed Listed and illustrated: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, cat. rais. no. GE 197 Provenance: Collection of Dr. Kazimierz Iwanicki (1865–1952), Krakau Private Collection, Austria (by descent from the above) Sale: Dorotheum Vienna, 17 May 1988, lot 174, ill. Private Collection, Vienna Exhibition and Catalogue: Tokyo, Wien um 1900. Klimt, Schiele und ihre Zeit, Sezon Museum of Modern Art, Karuizawa, October 7 – December 5, 1989, cat. no. 66, ill. This captivating image of spring, painted by Carl Moll in a vineyard in Grinzing near Vienna, exemplifies the artistic ideas of the early Secession. Characteristic is the choice of a square format, which contrasts with the strongly diagonal orientation of the painterly composition, creating a unique harmony between stillness and dynamism. The relationship between nature and art is the central theme, with Moll here opting for the cultural landscape of a vineyard on the slopes of the Vienna Woods instead of the artistically designed gardens of the Hohen Warte villas. In addition to the almost pointillist application of colour strokes and a refreshingly bright palette of cream and green tones, the compositional structure is also inspired by the French Impressionism, for which Moll had organized his first exhibition in the Secession in 1903. The strict diagonal and thus spatial orientation contrasts with the flatness of the elevated horizon, while the delightful rhythmic arrangement of the bare vines and their shadows evokes images by Vincent van Gogh, Gustave Caillebotte, as well as the Austrian Impressionist Theodor von Hörmann. The atmosphere of light-filled expanses, of awakening life, and cheerful lightness also has a distinctly French quality, reflecting the southern way of life in a refreshing and breathing manner.
Dorotheum
Mar. 27, 2026
CARL MOLL
Est: CHF3,000 - CHF4,000
CARL MOLL (1861 Vienna 1945) The Beethoven houses. Series of 11 views and a title page. 1902. Colour woodcuts on Japan laid paper. Dedicated, dated and signed in pencil on the title page below the title: In dankbarer Erinnerung an den 29. September Carl Moll. Sheet size each ca. 23.7×23.6 cm. Cabuk/Pichler DG14–DG25. - With the title page: BEETHOVEN / HÄUSER / ORIGINALHOLZSCHNITTE / VON CARL MOLL / AQUARELLDRUCKE / UND MAPPE VON DER / WIENER WERKSTÄTTE. Published by the Wiener Werkstätte in 1907. - All colour woodcuts in the original mounts, each with typographic caption below the image. The original Wiener Werkstätte case partially browned; the edges and corners with surface abrasion and bumps; the joints torn and secured with adhesive tape. The silk ribbon detached and provided separately. The mounts are slightly dusty, evenly slightly browned and with a few scattered spots in places; the views themselves in good condition. ------------------------------------------------- CARL MOLL (1861 Wien 1945) Die Beethoven-Häuser. Folge von elf Ansichten und einem Titelblatt. 1902. Farbholzschnitte auf Japanbütten. Auf dem Titelblatt unterhalb des Titels mit Bleistift gewidmet, datiert und signiert: In dankbarer Erinnerung an den 29. September Carl Moll. Blattgrösse jeweils ca. 23,7×23,6 cm. Cabuk/Pichler DG14-DG25. - Mit dem Titelblatt: BEETHOVEN / HÄUSER / ORIGINALHOLZSCHNITTE / VON CARL MOLL / AQUARELLDRUCKE / UND MAPPE VON DER / WIENER WERKSTÄTTE. Von den Wiener Werkstätten 1907 herausgegeben. - Alle Farbholzschnitte im Original-Passepartout und jeweils unterhalb der Darstellung typographisch bezeichnet. Die originale Kassette der Wiener Werkstätte teils gebräunt, die Kanten und Ecken berieben und bestoßen sowie an den Gelenken eingerissen und mit Klebestreifen fixiert. Das Seidenband gelöst und beigegeben. Die Passepartouts sind etwas angestaubt, gleichmässig leicht gebräunt und stellenweise vereinzelt fleckig, die Ansichten selbst in guter Erhaltung.
Koller Auctions
Mar. 22, 2026
MOLL Carl (Austrian 1861-1945), Gondolas on a Shaded Canal, Venice., Oil on Panel, 33.5x34.5cm (sight) 34x35.5cm (chamfered panel)
Est: $40,000 - $60,000
MOLL, Carl (Austrian 1861-1945) Gondolas on a Shaded Canal, Venice. Distant view to what is considered to be St Mark's Campanile. Incised monogram 'CM' lower left. Ink customs stamp to panel verso. Oil on Panel 33.5x34.5cm (sight) 34x35.5cm (chamfered panel) PROVENANCE: Private collection, Sydney.
Davidson Auctions
Mar. 21, 2026
Moll, Carl (1861 Wien 1945)
Est: €150 - €180
Winter (Hohe Warte in Wien). Farbholzschnitt/Velin (gebräunt), 1903. Darstellung ca. 43,3x 43,3 cm. R.
Dannenberg
Feb. 05, 2026
Baumallee in Bruntál (Tree Lined Road in Bruntál)
Est: $200,000 - $300,000
Property of a Gentleman Carl Moll Austrian 1861 - 1945 Baumallee in Bruntál (Tree Lined Road in Bruntál) initialed lower right: CM oil on canvas canvas: 23 3⁄4 by 23 3⁄4 in.; 60.5 by 60.5 cm framed: 30 ¼ by 30 ¼ in.; 76.8 by 76.8 cm Executed in 1916. This work appears in the digital catalogue raisonné under no. GE 294.
Sotheby's
Jan. 29, 2026
Winter
Est: €400 - €600
MOLL, CARL Wien 1861 - 1945 Titel: Winter. Hohe Warte in Wien. Technik: Farbholzschnitt auf Papier. Montierung: Montiert. Maße: Im Passepartout: 43,5 x 43,5cm. Rahmen: Rahmen. Provenienz: Sammlung Bayer AG Estimated shipping costs for this lot: Germany: 52,94 Euro plus 10,06 Euro VAT EU: 79,83 Euro plus 15,17 Euro VAT Worldwide: 138,66 Euro plus 26,34 Euro VAT additional shipping insurance up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. This lot will be sold under standard taxation (Condition of Sale §V5.1) Explanations to the Catalogue Carl Moll Vienna Secession Graphics Framed Winter Print Urban life
Van Ham Kunstauktionen
Jan. 29, 2026
Beethoven Houses
Est: €1,800 - €2,400
MOLL, CARL Wien 1861 - 1945 Titel: Beethoven-Häuser. Konvolut mit sieben Farbholzschnitten:. Wiener Vorstadt Alsergrund, Straßenansicht / Wiener Vorstadt Alsergrund, Eingang zu Beethovens Wohnung (ungerahmt, Papiermaß: 23,5 x 22,5 cm) / Mödling, Straßenansicht / Mödling, Hofansicht / Wien-Heiligenstadt, Treppenaufgang / Wien-Heiligenstadt, Garten / Wien-Heiligenstadt, Straßenansicht. Technik: Jeweils Farbholzschnitt auf Papier. Montierung: Montiert. Maße: Im Passepartout: 20,5 x 20,5cm. Rahmen: Bis auf eines jeweils einzeln gerahmt. Das ungerahmte Blatt rückseitig nachträglich mit Bleistift beschriftet. Provenienz: Sammlung Bayer AG Estimated shipping costs for this lot: Arrangement after the auction. up to total invoice amount of 25,000 Euros: max. 41.65 Euro over a total invoice amount of 25,000 Euros: 1.8 o/oo USA by individual arrangement after the auction. This lot will be sold under standard taxation (Condition of Sale §V5.1) Explanations to the Catalogue Carl Moll Vienna Secession Graphics Musician Print Cityscape
Van Ham Kunstauktionen
Dec. 10, 2025
Küchenstillleben (Kitchen Still Life)
Est: €10,000 - €15,000
Carl Moll 1861 - 1945 Küchenstillleben (Kitchen Still Life) signed (lower left) oil on board 33.6 by 23.3cm. 13¼ by 9⅛ in. Executed in circa 1890. This work has been authenticated by Dr. Cornelia Cabuk, Vienna and is in digital Carl Moll catalogue under Number GE 41 A.
Sotheby's
Dec. 02, 2025
CARL MOLL: BACKYARD WITH WOMEN AND CHILDREN
Est: €3,000 - €6,000
Carl Moll Backyard with women and children c. 1892 oil on panel; framed 33 x 21.5 cm monogrammed on the lower right: CM (probably added later by an unknown hand) 1971 Galerie Klewan, Vienna; private property, Austria 1971 Vienna, Galerie Klewan, Österreichischische Malerei, cat.-no. 27 (with illus.) Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, cat.-no. GE 72, illus. p. 126
Im Kinsky
Nov. 27, 2025
CARL MOLL (Vienna 1861 - 1945 Vienna)
Est: €300 - €500
CARL MOLL (Vienna 1861 - 1945 Vienna) Beethoven house in the Eroikgasse woodcut/Paper 14,5 x 13,5 cm inscribed int the plate Original-Holzschnitt von Karl Moll OM. Beethovenhaus in der Eroikgasse, Wien XIV SCHÄTZPREIS / ESTIMATE °€ 300 - 500 STARTPREIS / STARTING PRICE °€ 300 Carl Moll was an Austrian Art Nouveau painter. He studied at the Academy of Fine Arts in Vienna in 1880/1881 with Christian Groepenkerl and later became a student of Emil Jakob Schindler. In 1896, he received a small gold medal at the Internationale Kunstausslellung Berlin (International Art Exhibition Berlin). In 1897, he was one of the co-founders of the Vienna Secession. In 1901, Josef Hoffmann built a large semi-detached house for Moll and Koloman Moser on the Hohe Warte in Vienna, the first of a planned villa colony. At Moll's instigation, the state-run “Moderne Galerie” was founded in 1903, today the Österreichische Galerie Belvedere. In 1905, Moll left the Secession together with Gustav Klimt's group. As director of the Miethke Gallery from 1904 to 1912, he acted as a supporter of Klimt. He organised exhibitions of international artists and brought, among others, works by Vincent van Gogh to Vienna for the first time. Moll was a member of the Deutsche Künstlervereinigung (German Artists' Association). His stepdaughter Alma (Mahler-Werfel) had to flee with her husband Franz Werfel in 1938 after the "Anschluss" when Austria was annexed by Hitler's Germany. After Vienna was captured by the Red Army in 1945, Moll committed suicide along with his daughter and son-in-law. Moll became known for his large-format color lithographs and woodcuts. The style of his later landscape paintings increasingly changed from the two-dimensional painting of the Secessionists to more spatiality; in later years he moved more and more towards Expressionism. Works by Moll are included in the following collections: Jenö Eisenberger Collection, Vienna; Leopold Museum, Vienna; Muzeul Tari Crisurilor, Oradea; Lower Austria Museum, St. Pölten; Austrian Gallery Belvedere, Vienna. Further artists and styles: Johann Georg Platzer, Ferdinand Georg Waldmüller, Friedrich von Amerling, Otto Wagner, Eduard Ameseder, Carl O’Lynch of Town, Richard Gerstl, Max Domenig, Robin Christian Andersen, Egon Schiele, Paul Kassecker, Hans Knesl, Heinz Leinfellner, Rudolf Hausner, Joannis Avramidis, Maximilian Melcher, Alfred Hrdlicka, Dorit Margreiter, Herbert Boeckl, Josef Dobrowsky, Albert Paris Gütersloh, Willy Eisenschitz 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 ° at the estimate), a premium of 24% is added to the highest bid. The mandatory sales tax is added to the sum of the highest bid and the buyer's premium. This amounts to 13% for paintings, drawings, graphic works and sculptures and 20% for photographs and all other items. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
Widder Auctions
Nov. 18, 2025
Carl Moll
Est: €40,000 - €50,000
(Vienna 1861–1945) “Schlosspark in Jaispitz” bei Znaim (Avenue in the castle park of Jevišovice near Znojmo, Czech Republic), c. 1921, monogrammed CM, titled on the reverse, oil on panel, 35 x 35.5 cm, framed Listed and illustrated: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse (ed.), vol II, Vienna 2020, cat. rais. no. GE 328 Provenance: Collection Hamburger, Vienna (note on the reverse: “Geschenk von den Brüdern Hamburger“) Private Collection, Vienna Kunsthandel Giese & Schweiger, Vienna (1987) Private Collection, Vienna Sale, Dorotheum Vienna, 28 November 2018, lot 158 Private Collection, Vienna Exhibition and Catalogue: Brünn/Brno, Sonder-Ausstellung, Künstlerhaus Brünn, 1929, p. 3, cat. no. 29, ill. Vienna, Kunsthandel Giese & Schweiger, exhibition catalogue, 1987, cat. no. 28, ill. In Carl Moll’s painting from around 1921, the view of an autumnal avenue – where sunlight repeatedly breaks through the tree canopies – is experienced above all as an interplay of colour and light. From the forest floor in the foreground, lying in dappled shade and shimmering in a rich palette of reddish browns, yellows, and pinks, the viewer’s gaze is drawn down the length of the avenue, following a dynamic alternation of light and shadow. The succession of autumnally coloured, bright yellow trees contrasted with still-vibrant green foliage creates the impression of a temporal sequence, akin to walking along a path. The atmospheric light recalls Moll’s early fascination with French Impressionism during the formative years of the Vienna Secession, which he co-founded. His spirited brushwork reflects the subjective and authentic experience of a contemplative walk through the English-style park surrounding the historicist, neo-Gothic new castle in Jaispitz. In the impasto technique and the free, expressive brushstrokes characteristic of his late work, Moll approaches expressive colouristic tendencies without abandoning the foundation of capturing visual impression. Subtly present in the square format and the formalized composition along a central axis is an echo of Gustav Klimt’s Avenue in the Park of Schloss Kammer (1912). Moll most likely stayed in Jaispitz at the invitation of the oil magnate and philanthropist Wilhelm Ofenheim von Ponteuxin, who had purchased the castle in 1916 and passed away there in 1932. Moll worked for him as an art agent and supported the formation of a significant collection of Dutch and Italian Old Masters. Cornelia Cabuk
Dorotheum
Nov. 18, 2025
Carl Moll
Est: €60,000 - €80,000
(Vienna 1861–1945) Laubwald im Herbst (Deciduous Forest in Fall), c. 1902, monogrammed CM, oil on canvas, 55.5 x 45 cm, framed Provenance: Sale, Sotheby’s, London, October 8, 1986, lot 27, ill. Private Collection, Vienna Exhibition: Budapest, International Spring Exhibition, Országos Magyar Képzőművészeti Társulat (Hungarian National Society of Fine Arts), April 1903, cat. no. 108 We are grateful to Dr. Cornelia Cabuk for confirming the authenticity of the original. The painting will be included in the archive of the work catalogue under no. GE 178A. Cabuk suggests that this painting is identical to the one exhibited in 1903 at the Spring Exhibition in Budapest under cat. no. 108 and the title “Lomboserdö/ Laubwald”. Across several picture-parallel zones of forest floor and meadow, the viewer’s gaze is drawn into the depths of a dark deciduous forest. In the foreground, the singular forms of two leafless tree trunks and their branching limbs are depicted. Their dark lines form an irregular, fragile pattern across the pictorial surface. Scattered golden-yellow leaves on the forest floor glow intensely in the twilight, in accordance with the physical principle that light colours are more visible in darkness. Subjective colour perception had become a highly topical issue in the art world around the turn of the century, particularly in light of new scientific theories of colour and the exhibitions of the Impressionists and Neo-Impressionists. Moll’s evocation of twilight, with a pale sky shimmering through the tree canopies, reflects his artistic orientation during the formative years of the Vienna Secession, which he co-founded. The influence of French modernism and Japonism led to a focus on surface effect, a stylistic approach emphasizing the image as a flat plane and highlighting atmospheric qualities and moods in response to changing times of day and seasons. In his modern painting style, light conditions are translated entirely into contrasting chromatic values, expressed through subtle nuances and intermediate tones. Like the French Impressionists, Moll allows the canvas to show through in his forest interior through a divisionist brushstroke and translucent layers of paint. The titles he chose for his works at the time – such as Forest Interior, Twilight, or Evening Sun– refer to specific colour moods that ideally complemented the modern interiors of Viennese Jugendstil, in keeping with the concept of the Gesamtkunstwerk. Moll exhibited these works in international exhibitions, including the 1902 Berlin Secession and the 1903 International Spring Exhibition in Budapest, where he showed a painting titled Deciduous Forest. Cornelia Cabuk
Dorotheum
Jun. 17, 2025
CARL MOLL: HEUSTADLWASSER IM PRATER
Est: €70,000 - €140,000
Carl Moll Heustadlwasser im Prater 1931 oil on canvas; framed 60.5 x 60.5 cm monogrammed on the lower right: CM inscribed by the hand of the artist on the reverse on the stretcher: III / Prater / Heustadl / wasser private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, GE 467, illus. p. 252
Im Kinsky
May. 20, 2025
Carl Moll
Est: €50,000 - €90,000
(Vienna 1861–1945) Blick in den Garten der Villa Ast / Mahler-Werfel auf der Hohen Warte (View of the garden of the Villa Ast / Mahler-Werfel on the Hohe Warte, Vienna), after 1932, monogrammed CM, oil on canvas, 60.5 x 60.5 cm, framed Provenance: Private Collection, Vienna (since the 1960s) We are grateful to Dr. Cornelia Cabuk and Dr. Franz Smola, Belvedere for their confirmation based on the original and the inclusion in the Catalogue Raisonné under no. GE 483 A. Among the most important buildings Josef Hoffmann designed on the Hohe Warte in Vienna’s 19th district, Döbling, is the villa built between 1909 and 1911 for the construction magnate Eduard Ast, located at the corner of Steinfeldgasse and Wollergasse. Situated in close proximity to Carl Moll’s own residence, he acquired the villa in 1932 for his stepdaughter Alma and her third husband, the writer Franz Werfel. The couple resided there until 1938. During this time, the villa became a vibrant cultural and intellectual hub of Vienna – a gathering place for artists, philosophers, and thinkers of the era. In the spirit of the Gesamtkunstwerk, Josef Hoffmann always considered the garden an integral part of his architectural vision. The classical austerity of the building’s structure, with its long terraces, is reflected in the clear geometry of the flower beds, which are bordered downhill by a segmented glass wall. The lush, yet carefully composed nature of the garden transitions almost seamlessly into the “wild” landscape of the surrounding parkland, before the view drifts past the striking tower of the Heiligenstadt church and toward the gentle hills of the Nussberg beyond. Characteristic of Moll’s style in the 1930s is the broad application of paint and the vibrancy of color – especially the rich shades of green. A faint pink shimmer on the horizon lends the composition the soft, atmospheric light of early dusk. Documentations of the gardens surrounding Hoffmann-designed villas are extremely rare. As such, this view is not only an outstanding artistic rendering but also a historically significant document of Viennese architectural and landscape culture.
Dorotheum
May. 20, 2025
Carl Moll
Est: €100,000 - €180,000
(Vienna 1861–1945) Garten in Döbling (Garden in Döbling, Vienna), circa 1908, signed C. MOLL; label of the Künstlerhaus 1921/3468 (on the reverse), oil on canvas, 100 x 100 cm, original frame Provenance: 1921 Collection of Ferdinand Bloch-Bauer (1864–1945), Jungfern Breschan / Zurich before 1934 Collection Julius Tandler (1869–1936), Vienna / Moscow by descent to his widow Olga Tandler (1876–1948), Vienna / California by descent to her son Wilhelm Tandler (1904–1967), California by descent to the present owner Listed: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. II , Vienna 2020, cat. rais. no. GE 245 (without ill.) Monika Fritz, Carl Moll, Diss. Univ. Innsbruck 1962, cat. no. 205 (without ill.) Exhibition: Vienna, Kunstschau 1908, Room 11, cat. no. 7 Vienna, Carl Moll. Eine Auswahl aus seinem Werke anlässlich der Vollendung seines 60. Lebensjahres, Künstlerhaus, 1 October – 31 October 1921, cat. no. 28 We are grateful to Nikolas Domes, MA for confirming the entry in the Künstlerhaus-Archive, Vienna. Carl Moll’s Garden in Döbling ranks among his significant contributions to the 1908 Kunstschau Wien, where he presented an impressive selection of eleven works, including highlights such as White Interior (1905/06), Interior in the Winter Palace of Prince Eugene, and Wertheimsteinpark in Winter (1907). Moll artistically interpreted the reform gardens, which illustrated the Secessionist ideal of the Sacred Spring, in his depictions of the villa colony built by Josef Hoffmann on the Hohe Warte in Döbling, the 19th district of Vienna. In a similar way, the painting Garden in Döbling is characterized by the harmonious interplay of untouched landscape, designed garden, and architecture. Blooming trees line the path leading to a bench that invites quiet contemplation. The contemplative view of nature is further emphasized by a staircase and serpentine paths, which provide access to the steep slope of a garden adjacent to a large building. In Moll’s rhythmic, divisionist brushwork, impressionistic light painting is formally adapted to the square canvas format. Like his interior scenes, Moll’s garden images were ideally suited for the bright living spaces of collectors, often designed by Josef Hoffmann in the spirit of the Gesamtkunstwerk. The combination of modernity and tradition, praised by author Josef August Lux in the spirit of the Lebensreform movement, was to be realized on a new artistic level in the villa suburbs of Döbling. Moll merged the reformist ideal with the refined painting culture of the French Impressionists, aiming to give Viennese Modernism the same artistic standing as contemporary French and English art. The painting comes from the collection of Julius Tandler, the influential Viennese City Councillor for Welfare and Public Health during the interwar period. Tandler was a progressive reformer who oversaw the expansion of Vienna’s public parks and gardens – making this painting not only an aesthetic but also a historical testimony to a visionary era. Cornelia Cabuk
Dorotheum
Apr. 30, 2025
Carl Moll (Austrian, 1861-1945) Das rote Haus in Venedig (The Red House in Venice), c. 1924
Est: $50,000 - $70,000
Carl Moll (Austrian, 1861-1945) Das rote Haus in Venedig (The Red House in Venice), c. 1924 oil on panel monogrammed CM (lower left); also inscribed Casa Mahler in Venedig and indistinctly inscribed to Julius Tandler and in erinnerung an die 6 November 31 (verso) 14 x 14 in. (35.6 x 35.6cm) Property from the Selma Orentreich Tanner Estate, New York, New York. This lot is located in Philadelphia.
Freeman’s | Hindman
Apr. 28, 2025
Carl Moll
Est: €12,000 - €18,000
(Vienna 1861–1945) A Coastal Landscape with Fishing Boats, signed, dated C. Moll (18)90, oil on panel, 22.5 x 32.5 cm, framed Provenance: Sale, Leo Schidlof, Vienna, 5-9 April, 1921, lot 215; Private Collection, Austria. Catalogued in: Cornelia Cabuk, Carl Moll. Monographie und Werkverzeichnis, Vienna 2020, p. 123, GE 61.
Dorotheum
Feb. 27, 2025
Moll, Carl (1861-1945)
Est: €400 - €500
Moll, Carl (1861-1945) House mark, 1903 Stereotype after woodcut Signed in the plate lower right Sheet size: 10 x 9.4 in / Plate size: 3.7 x 2.7 in
Lehner Kunstauktionen
Dec. 03, 2024
Carl Moll: Café "Hohe Warte"
Est: €100,000 - €200,000
Carl Moll Café "Hohe Warte" 1905 oil on canvas; framed 80 x 80 cm signed on the lower left: C. Moll Zdenko Hans Skraup (1850-1910), 1905 acquired directly from the artist; since then in family property, private property, Austria 1905 Vienna, Secession, XXIII. Ausstellung der Vereinigung bildender Künstler Österreichs Secession, march-may, no. 136 Katalog der XXIII. Kunstausstellung der Vereinigung bildender Künstler Österreichs Secession, März-Mai 1905, Vienna, no. 136 (Café "Hohe Warte", without ill.); cf.: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, GE 226, ill. p. 178 (Café Hohe Warte, oil on panel, 36.5 x 26.5 cm)
Im Kinsky
Nov. 30, 2024
Moll, Carl
Est: -
Moll, Carl 1861 Wien - 1945 Plankenberg Küchenstillleben. Signiert. Öl/Holz, 33,5 x 23,5 cm.
Dusseldorfer Auktionshaus
Nov. 27, 2024
Carl Moll, Vienna 1861 - 1945 Vienna
Est: €200 - €400
Carl Moll Vienna 1861 - 1945 Vienna At the Heustadlwasser Offset lithograph on paper 46.5 x 46.5 cm, framed 56 x 54 cm signed and inscribed lower right
Tiberius Auctions
Nov. 27, 2024
Carl Moll, Vienna 1861 - 1945 Vienna
Est: €400 - €800
Carl Moll Vienna 1861 - 1945 Vienna Carriage Ride of the Emperor Colored woodcut 43 x 43 cm monogrammed in the plate lower right
Tiberius Auctions
Nov. 27, 2024
Carl Moll, Vienna 1861 - 1945 Vienna
Est: €200 - €400
Carl Moll Vienna 1861 - 1945 Vienna Colored woodcut The Neptune Fountain with the Gloriette in Schönbrunn 42.5 x 42.5 cm, framed 45.5 x 45.5 cm
Tiberius Auctions
Nov. 27, 2024
Moll, Carl: Winter (Hohe Warte in Wien).
Est: €400 - €600
Winter (Hohe Warte in Wien). Farbholzschnitt mit graublauer Tonplatte auf festem Kupferdruckpapier. 43,1 x 43 cm (Darstellung); 55,8 x 45 cm (Blattgröße). (1903). Cornelia Cabuk: Carl Moll. Monografie und Werkverzeichnis, hg. v. Stella Rollig, Christian Huemer (Belvedere Werkverzeichnisse. 11), Wien 2019 (online), DG 13. Auf der Hohen Warte im 19. Wiener Gemeindebezirk errichtete der Architekt Josef Hoffmann ab 1901 eine Künstlerkolonie. Als Erstes wurde ein Doppelhaus für Koloman Moser und Carl Moll fertiggestellt. Nicht weit entfernt bezogen auch die beiden Fotografen und Kunstmäzene Friedrich Viktor Spitzer und Hugo Henneberg je eine stattliche Villa. Aus der Jahresmappe der Gesellschaft für vervielfältigende Kunst, Wien 1903. Ausgezeichneter Druck wohl auf dem vollen Bogen der Jahresmappe. Geringfügig altersspurig sowie schwach gebräunt, links kleine Randeinrisse und links oben leicht lädiert, knitterspurig im unteren Rand, die rechte untere Eckenspitze fehlt, sonst gut erhalten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Nov. 19, 2024
Carl Moll
Est: €70,000 - €100,000
(Vienna 1861–1945) “Wintersonne in Alger” (Winter Sun in Algiers), 1930, monogrammed CM, on the reverse titled and dated on an old exhibition label, another label from the “XVIII International Biennale Venice 1932”, old label, oil on canvas, 60 x 70 cm, framed Listed and illustrated: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. II (ed.), Vienna 2020, GE 442 Provenance: Estate of Carl Moll (1861–1945) By descent to Anton Klement (1886–1965), Vienna By descent - Private Collection, Lower Austria Literature: Monika Fritz, Der Wiener Maler Carl Moll, Diss. Univ. Innsbruck, 1962, cat. no. 77, ill. 82 Hans Dichand, Astrid Gmeiner, Carl Moll. Seine Freunde, sein Leben, sein Werk, Galerie Welz, Salzburg 1985, p. 71, cat. no. 88, ill. p. 170 Exhibition: Secession, CXVII, 1931, p. 15, possibly identical with cat. no. 112 Venice, Biennale 1932, possibly identical with cat. no. 55 “Life in Algiers was delightful in every respect. A refreshing, ozone-rich air with a champagne effect, lush vegetation, the fragrance of blooming orange trees – everything was intoxicating.” (Carl Moll, in.: Gmeiner 1985, p. 29) Carl Moll enthusiastically described his journey to Algeria in the winter of 1930 in his memoirs. He accepted the invitation of his friend Count Spork, who had arranged for him and his wife to stay in a luxurious apartment with a terrace and sea view in the upscale hilltop neighborhood of Hydra, near the Bois de Boulogne. The intensity of the North African light and the variety of colors inspired the painter to engage in intense artistic activity during the four months between January and April. A major work from this phase is undoubtedly Winter Sun in Algiers, which Moll submitted to both the Secession exhibition in 1931 and the Venice Biennale in 1932. Until now, it had only been known through a black-and-white photograph, but it captivates with its well-tempered rhythm of light-infused greens, blues, and violets, alongside darker shadow areas. Short yet broad brushstrokes give the view over the park landscape high above Algiers a unique, pulsating plasticity.
Dorotheum
Nov. 19, 2024
Carl Moll
Est: €40,000 - €60,000
(Vienna 1861–1945) Boote im Prater (Boats in the Prater, Vienna), c. 1930, monogrammed CM, on the reverse inscribed “Prater Moll”, oil on wood, 34 x 35,5 cm, framed Listed and illustrated: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. II (ed.), cat. rais. GE 429 (b/w ill.) Provenance: Private Collection, Vienna Literature: Carl Moll. Seine Freunde, sein Leben, sein Werk, Galerie Welz, Salzburg 1985, ill. 85 Monika Fritz, Der Wiener Maler Carl Moll, Diss. Univ. Innsbruck, 1962, cat. no. 84 The painting may have been exhibited at the Vienna Künstlerhaus in 1943. The catalogue of paintings submitted by Carl Moll mentions several Prater motivs, but none with an illustration. The reference in the catalogue raisonné can therefore not be verified. In his landscape paintings around 1930, Moll began to merge colour and light equally, portraying nature as a marvel of colors and shapes. The seemingly naturalistic Moll arranged the material according to formal laws, skillfully playing with lines, shapes, colors, and contrasts of light and dark. Moll took pleasure in using brush and palette knife, without the aid of sketches or pencil studies, to quickly create a depiction of the outside world that seemed to exist solely for the sake of being painted. (s. Fritz 1962, p. 102, 103).
Dorotheum
Nov. 19, 2024
Carl Moll
Est: €40,000 - €60,000
(Vienna 1861–1945) Heiligenstadt. Kirche bei Nacht (Heiligenstadt, Vienna. Church at night), c. 1904, signed C. MOLL, oil on wooden panel, 34.5 x 36 cm Provenance: Galerie Würthle, Vienna Private Collection, Vienna We are grateful to Dr. Cornelia Cabuk and Dr. Franz Smola, Belvedere for confirming the authenticity based on the original. It will be included in the catalogue raisonné under the number GE 214 A. “The everyday view is inexhaustible in its variety.” (Emil Jakob Schindler in a letter to Carl Moll) Around 1900, after the founding of the Vienna Secession, Carl Moll began a brief but remarkably significant phase of work that combined Impressionistic and Symbolist stylistic tendencies with his own conception of realism. Characteristic of this short period is the focus on a limited number of motifs. After Moll moved into the new villa on the Hohen Warte in 1901, the view from the garden to St. Michael in Heiligenstadt, framed by the gentle elevations of the Nussberg and the undulating hills of the Kahlen- and Leopoldberg, became a frequently recurring subject. In various versions, he “played” with slight changes in perspective, different image sizes, and the colours of the seasons. A particular highlight is this newly discovered night scene. In a burst of spontaneous inspiration, the painter captured the shadowy outlines of the buildings in swift brushstrokes on a thin wooden panel, which only become recognizable after prolonged observation. The phenomenon of darkness, which alters spatial distances, corresponds to the composition of finely nuanced layers of color from which isolated points of light emerge. With great sensitivity, Moll translated the “lack of colour” into a nighttime atmosphere full of poetry.
Dorotheum
Sep. 21, 2024
Attributed to Carl Moll Oil Painting, Two Women
Est: $50 - $15,000
Attributed to Carl Moll (Austria, 1861 - 1945) Oil Painting on board, Dressing Room Study of Two Seated Women, signed C. Moll. Measures 23.5 inches x 19.5 W. Painted on period board from Germany .
Kavanagh Auctions
Jun. 19, 2024
CARL MOLL: WINTER (HOHE WARTE IN WIEN)
Est: €500 - €1,000
Carl Moll Winter (Hohe Warte in Wien) colour woodcut on laid paper; framed 42.8 x 43 cm (board size), 55.3 x 45.4 cm (sheet size) typographically inscribed on the lower left: "Winter (Hohe Warte in Wien)" Originalholzschnitt von Karl Moll typographically inscribed on the lower right: Verlag der Gesellschaft für vervielfältigende Kunst, Wien. private property, Austria Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse vol. 11, Vienna 2020, DG 13, p. 303
Im Kinsky
Jun. 19, 2024
CARL MOLL: VENEDIG, BLICK AUF SAN GIORGIO MAGGIORE
Est: €50,000 - €100,000
Carl Moll Venedig, View of San Giorgio Maggiore c. 1922 oil on panel; framed 35 x 35.5 cm monogrammed on the lower left: CM label with inscription and note of ownership on the reverse: Carl Moll "Venice" view from Hotel Grand Canalé Monaco / Oil, Size 13 1/2 x 14 / signed, C.M. bottom left hand. / purchased apr 1925 from the artist by Dr. E. Gross / for L. Zimbler 1925 acquired directly from the artist by Dr. E. Gross (label verso); Liane Zimbler (1892-1987), Vienna and Los Angeles; since then family property, private property, Los Angeles "CARL MOLL "VENICE" VIEW FROM HOTEL GRAND CANALÉ MONACO" reads the inscription on the collection label on the back of this painting, which was formerly owned by the Austrian-American architect and interior designer Liane Zimbler. She recorded the motif and the precise position that Carl Moll chose for his view of Venice. From the terrace of the hotel near San Marco, he had a view of the expanse of sea from the Canale della Giudecca to the Isola di San Giorgio Maggiore. An impression of great distance is created by the undulating, reflective surface of the water, which occupies almost two thirds of the square picture format. The posts set at intervals in the sea create a sense of depth, while simultaneously anchoring the orthogonal composition in the picture. The island appears as a streak of light on the horizon, where the diffused outlines of buildings stand out against the shimmering atmosphere of Venice. The sweeping impasto application of paint in his late work and the luminous, typically Venetian red and blue hues create an authentic impression of the picturesque scene in the glimmering air. The ensemble of the church's magnificent façade in nuanced shades of white is given an emblematic character in the blue-shaded contours of the red building. In keeping with Moll's impressionistic approach, what interested him most was the constant change and the play of colours of the elements of water, air, light and the unique architectural landscape of Venice. After Moll's earlier artistic periods as a co-founder of the Vienna Secession and as the director of the Miethke Gallery, the established artist, now over sixty years old, devoted himself in painterly freedom to his own vision of a luminous, emphatic use of colour. (Cornelia Cabuk)
Im Kinsky
May. 29, 2024
Moll, Carl: Winter (Hohe Warte in Wien)
Est: €600 - €800
Winter (Hohe Warte in Wien). Farbholzschnitt mit graublauer Tonplatte auf Japan. 43,7 x 43 cm (Darstellung); 55,8 x 45 cm (Blattgröße). (1903). Cornelia Cabuk: Carl Moll. Monografie und Werkverzeichnis, Wien 2019 (online), DG 13. Auf der Hohen Warte im 19. Wiener Gemeindebezirk entstand unter maßgeblicher Beteiligung des Architekten Josef Hoffmann ab 1901 eine Künstlerkolonie. Als Erstes wurde ein Doppelhaus für Koloman Moser und Carl Moll fertiggestellt. Nicht weit entfernt bezogen auch die beiden Fotografen und Kunstmäzene Friedrich Viktor Spitzer und Hugo Henneberg je eine stattliche Villa. - Ganz ausgezeichneter Druck mit breitem Rand. Ganz schwach lichtrandig, im weißen Rand minimal fleckig, in der Darstellung links unten winziges Stockfleckchen, die Ecken etwas knitterfaltig, verso Montierungsreste, im linken Rand oben sowie unten zarte Quetschfältchen, sonst sehr schön. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
May. 22, 2024
Carl Moll
Est: €40,000 - €60,000
(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.
Dorotheum
May. 22, 2024
Carl Moll
Est: €50,000 - €90,000
(Vienna 1861–1945) “Die große Pappel” (The tall poplar), 1928, monogrammed CM, oil on canvas, 60 x 60 cm, framed Listed and illustrated: Cornelia Cabuk, Carl Moll, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, cat. rais. no. GE 393 Provenance: Estate of the artist by descent to Anton Klement (1886-1965), Vienna Private Collection, Austria (by descent from the above) Literature: Arthur Roessler, Wiener Künstler. Prof. Carl Moll, in: Bernhard Altmann Magazin, vol. 2, issue 11/12, 1929, p. 1-6, ill. Arthur Roessler, Carl Moll. Zum 70. Geburtstag, in: Österreichische Kunst. Monatshefte für bildende Kunst, vol. 4, Vienna 1931, ill. p. 14 Monika Fritz, Der Wiener Maler Carl Moll, Diss. Univ. Innsbruck, Innsbruck 1962, cat. no. 81 ("Scitvar"), ill. 84 At the age of almost 70, around 1930, Carl Moll embarked on his late oeuvre, a perceptible dynamic and stylistically newly shaped period in his work. In keeping wih the Impressionist tradition but with free, broad brushstrokes, he worked with complementary colors of light and dark, always avoiding black. This stylistic shift is also apparent in “The tall poplar”, a pendant to the painting “Summer’s Day” in the Belvedere collection. A large, shimmering green poplar tree stands majestically on the bank of a pond or watercourse. The painting is a homage to the light. It avoids the monotony of a tonal sequence of the only used colour green by progressing rhythmically and harmoniously from light to dark, additionally creating a sense of vital fluidity with carefully positioned white patches of sky.
Dorotheum
May. 22, 2024
Carl Moll
Est: €60,000 - €100,000
(Vienna 1861–1945) “Riva Schiavoni”, Venice, c. 1915, monogrammed CM, titled twice in pencil on the reverse of the stretcher Venedig (Riva Schiavoni) III, and IV Venedig, old label with no. 302, export stamp of the Hamburg customs office, oil on canvas, 66 x 60 cm, framed Provenance: Galerie Schebesta, Vienna Sale, Dorotheum, Vienna, 18 September 1963, lot 368 Private Collection, Austria by descent to the present owner Compare: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, cat. rais. nos. GE 282-284 We are grateful to Dr. Cornelia Cabuk and Dr. Franz Smola, Belvedere for confirming the authenticity of this work and for the inclusion in the catalog raisonné under the no. GE 284 A. The title of the painting – Riva Schiavoni - is somewhat misleading, as the most famous waterside promenade in the world is only identifiable in this light drunken painting by the great building of the Chiesa della Pietà seen in the distance. Carl Moll, who sojourned in Venice for several months in the years 1907, 1913 and 1922, may have been standing on the jetty of the Hotel Monaco, following the flow of the water, which, like a street lined with sailing boats, extends deep into the picture, past the Giardini Reali, and the Doge’s Palace, down to the sun-drenched buildings along the Riva. It is wonderful to see how the shape of the boats and the white gleaming balustrades are mirrored in the gentle swell of the water, how the warm sunlight adds a yellowish rinse to the delicate strands of cloud and lends a golden glow to the buildings.
Dorotheum
Mar. 23, 2024
MOLL, Carl (*1861 Wien †1945 ebd),
Est: -
MOLL, Carl (*1861 Wien †1945 ebd), Holzschnitt, "Winter (Hohe Warte in Wien)", Verlag der Gesellschaft für vervielfältigende Kunst/Wien, Rahmen der Zeit (leicht best), hinter Glas, über alles 47,5 x 48 cm, rechts unten gebräunt, wohl beschnitten
zeitGenossen Antiquitäten - Kunst - Design
Mar. 21, 2024
Carl Moll, 1861 Wien – 1945
Est: €10,000 - €12,000
DIE TAUFE CHRISTI - KOPIE NACH DOMENIKOS EL GRECO (1541 – 1614) Öl auf Leinwand. 109 x 46 cm. Verso kleiner Notizzettel mit Verweis auf Carl Moll sowie Verweis auf El Greco-Kopie. Auf dem Gemälde ist die Taufe Christi in einer nächtlichen Szene dargestellt. Es wird der Moment gezeigt, als Johannes der Täufer das Taufwasser aus einer Muschel über das Haupt Christi gießt. Der Himmel hat sich geöffnet und zeigt den thronenden Gottvater in einem weißen Gewand sowie eine herabsteigende Taube in der Mitte des Bildes. Dieser Vogel verbindet die obere himmlische mit der unteren weltlichen Bildebene. Anmerkung: Das Originalgemälde von El Greco, Öl auf Leinwand, 330 x 211 cm, befindet sich im Hospital de Tavera, Toledo. Literatur: Stella Rollig, Christian Huemer, Carl Moll - Monografie und Werkverzeichnis, Bd. 2, Wien 2020, S. 186. (13810524) (18) Carl Moll, 1861 Vienna – 1945 THE BAPTISM OF CHRIST - COPY AFTER EL GRECO (1541 – 1614) Oil on canvas. 109 x 46 cm. Notes: The original painting by El Greco, oil on canvas, 330 x 211 cm, is located in the Hospital de Tavera, Toledo. Literature: Stella Rollig, Christian Huemer, Carl Moll - Monografie und Werkverzeichnis, vol. 2, Vienna 2020, p. 186.
Hampel Fine Art Auctions
Mar. 14, 2024
CARL MOLL Erntewagen am See.
Est: $15,000 - $20,000
CARL MOLL Erntewagen am See. Oil on canvas, 1878. 317x393 mm; 12½x15½ inches. Signed and dated in oil, and inscribed to the dedicatee, "H Sc." lower right recto. Provenance: Hermann Sch--, the dedicatee, with the inscription, "Sei[nem] [Fre]unde [Her]rmann Sch [...] [Zur fre]undlichen Erinnerung Carl Moll" on a partial label on the stretcher verso; Kunstsalon Menzel, Salzburg, until 1977; Max Dasch, Salzburg; private collection; sold Tiberius Auctions, Vienna, November 14, 2023; private collection, Estonia. Published: Cornelia Cabuk, Carl Moll Monografie und Werkverzeichnis, 2020, volume 11, page 108, number GE 1. Moll (1861-1945), born in Vienna, spent much of his childhood painting, as frequent illness made regular school attendance impossible. His father's early death in 1877 and subsequent inheritance afforded his family the financial security to pay for Moll's private lessons in painting and drawing from the landscape painter Carl Haunold (1832-1911). According to the Belvedere Museum in Vienna, the current work was painted by Moll during his time as a student under Haunold's tutelage. Moll would go on to become the student of Christian Griepenkerl (1839-1916) and Emil Jakob Schindler (1842-1892) at the Vienna Academy of Fine Arts. In 1897, he co-founded the Vienna Secession with Gustav Klimt (1862-1918), advocating for a rejection of conservative traditions, and his artistic style by this time had shifted significant from the more traditional, academic appearance of the current work. Moll was especially vocal in his support of the Belvedere Gallery as a focal point of new Austrian art, and many of his most important paintings of now in the museum's collection. Artistically, Moll embodied this disavowal of norms through his frequent depiction of bright majestic landscapes rendered in sweeping brushstrokes. Moll committed suicide in Vienna at the end of World War II.
Swann Auction Galleries
Mar. 13, 2024
Carl Moll 1861—1945
Est: CHF100,000 - CHF150,000
Carl Moll 1861—1945 Frühstückstisch in Venedig Öl auf Leinwand unten links monogrammiert CM 61,5 x 60 cm
Artcurial Beurret Bailly Widmer
Nov. 27, 2023
CARL MOLL: VILLA PRIMAVESI
Est: €100,000 - €200,000
Carl Moll Villa Primavesi c. 1919 oil on canvas; framed 60 x 60 cm monogrammed on the lower right: CM Primavesi family, Vienna, acquired directly from the artist; Christie's London, 23.06.2004, no. 161; private collection, Austria; auction house im Kinsky, 24.02.2009, no. 80; private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, GE 307, ill. p. 205 The Villa Primavesi in Vienna-Hietzing was built between 1913 and 1915 according to plans created by Josef Hoffmann for Josefine Skywa and her life partner Robert Primavesi, an industrialist, large landowner and member of the Imperial Council, although it is she who is mentioned as the client. What is remarkable about the neo-classical Art Nouveau building, which is still preserved today and on which Hoffmann collaborated with, among others, the sculptor Anton Hanak, is the extensive Reformgarten ("Reform Garden") which formed an integral part of the Gesamtkunstwerk or total synthesis of the arts, and whose terrace abutted on the tea house district with the former two-storey Glashaus. In 1913 Josefine Skywa already owned the garden area, which Hoffmann included in the construction plans. Carl Moll was one of the guests at the house. In his painting, the only part of the magnificent building shown is the terrace on the right-hand side of the picture with the party at the table, while the actual motif is the harmonious lifestyle of the house owners in the midst of the nature in the garden, with its old trees. With the bright clearing in the middle ground and the shimmering areas of shadow, which Moll depicts with dynamic brushstrokes in brilliant colours, architecture and nature conjoin in meaningful unity. After the periods as a co-founder of the Secession, and as a member of the Klimt Group and the Kunstschau exhibition, and following his retirement from directing the Miethke Gallery, Moll devoted himself exclusively to painting at times. In his motifs of stately gardens and the landscape of the Prater park in Vienna, he developed the accentuated colouring so typical of his work as he evolved his initial Impressionist approach into a subjective depiction of nature through his characteristic temperamental impasto style. He depicted the unfathomable expanse of the garden as an evocative backlit scene by inserting coloured lights that shine through the treetops and thus draw the viewer’s gaze into the depths of the picture. (Cornelia Cabuk)
Im Kinsky
Nov. 27, 2023
CARL MOLL: ALLEE IN SCHÖNBRUNN
Est: €50,000 - €100,000
Carl Moll Allee in Schönbrunn 1909/10 oil on panel; framed 35 x 35.5 cm signed on the lower left: CMoll (carved) with personal dedication on the reverse: seiner lieben Fritzi / Carl private property, Austria (according to the previous owner, acquired from his father directly from the artist's estate); auction house im Kinsky, 15.11.2012, no. 887; private property, Vienna Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse, vol. 11, Vienna 2020, GE 251, ill. p. 187 Carl Moll picturesquely captures the atmosphere of a warm spring day in Vienna’s Schönbrunner Allee, filled with light and colour, in a square picture format. The viewer’s gaze is drawn into the depths of a bright clearing by the extreme vanishing perspective of the avenue of trees, while the horse-drawn carriage moves forward in the opposite direction. The sunlight filters through the luxuriant green canopy of tree foliage with a multilayered scattering of its rays, enlivening the park landscape with a shimmering interplay of light and shadow. (Claudia Mörth-Gasser)
Im Kinsky
Nov. 27, 2023
CARL MOLL: GARTEN IM FRÜHLING AUF DER HOHEN WARTE
Est: €250,000 - €500,000
Carl Moll Garten im Frühling auf der Hohen Warte 1903 oil on canvas; framed 100 x 100 cm signed on the lower right: C. Moll remains of an old artist's label with handwritten no. 168 and an inscription by the hand of the artist on the reverse on the stretcher: Gart(en im) Frühling and numbered label no. 168 (probably label of the exhibition Wiener Werkstätte 1906, Museum Folkwang, Hagen) after 1906 family of Anna Moll (née Bergen), Hamburg; by inheritance to Helene Raskop, Hamburg; by inheritance to Gertrud Helene Raskop (deceased on 23.11.1978), Hamburg; by inheritance to the aunt of the present owner, private property Hamburg; since 1997 German private property 1906 Hagen, Museum Folkwang, exhibition "Wiener Künstler" (Wiener Werkstätte), November/December, no. 168 (exhibition label verso) "(...) he (Moll) is one of the most conscious proponents of modern living culture and each of his brushstrokes directly reflects his conviction and way of life. He lives in a villa built by Hoffmann on the Hohe Warte, a colony of villas that owes its entire layout to Hoffmann. Between beautiful white houses lie spacious gardens with neat terraces and arcades, carefully tended and fitted out with white furniture. It is from this environment that Moll’s motifs originate." (Review of the "Ausstellung Wiener Künstler im Folkwang" ["Exhibition of Viennese Artists at the Folkwang"], in: Haener Zeitung, no. 282, 1.12.1906, p. 2) The painting "Garten im Frühling auf der Hohen Warte" ("Garden in Spring on the Hohe Warte") is a rare masterpiece of Viennese modernism, previously unknown in the art world. Painted in 1903 and exhibited at the Folkwang Museum in Hagen in December 1906, the painting probably made its way to Hamburg a little later, where the family of Anna Schindler-Moll (née Bergen) lived. Since then, Moll’s wonderful view of the garden of the Villa Moll/Moser in Döbling, freed from narrative details, has remained hidden from the public eye in German private property for nearly one hundred years. We consider ourselves fortunate that this newly discovered jewel from the heyday of Secessionist art has found its way back to Vienna and that we are able to present the painting for the first time in almost a hundred years. (Claudia Mörth-Gasser) Moll painted the picture "Garten im Frühling" ("Garden in Spring") from the porch of the Moll-Moser duplex on Hohe Warte facing south. A narrow, paved path, bordered by low brick walls and tulip beds, leads to an arbour symmetrically flanked by small box trees in cuboid pots. The idea of the Gesamtkunstwerk or total synthesis of the arts in Josef Hoffmann’s architecture also extended to the joint planning of the "Reform Gardens", in which architecture and nature formed a stylistic unity ordered according to geometric relationships. At the artists’ colony on the Hohe Warte, the unity of life and art was realised in an ideal way in a culture of modern taste. The clearly structured, harmoniously designed, modern environment was intended to enable people to live in a devoted harmony with nature. The idea of a reform of life is clearly documented in Moll's cycle of paintings of the Hohe Warte in his impressionistic depiction of the equally stylised interior and exterior spaces At the 17th Secession exhibition in 1903, Moll presented a collection of his paintings of the Hohe Warte, including garden pictures, which was acclaimed by the art critic Ludwig Hevesi. After leaving the Secession together with the Klimt Group, Moll, as director of the Miethke Gallery, promoted the Wiener Werkstätte ("Viennese workshops"), founded in 1903 by Fritz Waerndorfer, Koloman Moser and Josef Hoffmann, by presenting them at the newly designed venue on the Wiener Graben in December 1905, and by arranging for Karl Ernst Osthaus to show their work at the Folkwang Museum in Hagen, Germany, in December 1906 under the title "Ausstellung Wiener Künstler" ("Exhibition of Viennese Artists"). There, Moll’s paintings were shown, together with the arts and crafts of the Wiener Werkstätte. To illustrate "the new Viennese life", Moll included the "Weiße Interieur" ("White Interior") (GE 223) as well as paintings of the Hohe Warte, among them probably "Garten im Frühling" ("Garden in Spring). (Cornelia Cabuk)
Im Kinsky
Nov. 23, 2023
Winter (Hohe Warte), 1903
Est: €800 - €1,000
Coloured woodcut on strong paper Typographical title lower left, typographical publisher's indications "Verlag der Gesellschaft für vervielfältigende Kunst, Wien" lower left Plate size: 16,93 x 16,93 in; sheet size: 21,89 x 17,8 in Published in the annual portfolio of the Gesellschaft für vervielfältigende Kunst; slight damage to the right side edge, does not disturb the overall impression; Provenance: Austrian private collection.
Lehner Kunstauktionen
Nov. 23, 2023
Winter (Hohe Warte), 1903
Est: €800 - €1,000
Coloured woodcut on strong paper Typographical title lower left, typographical publisher's indications "Verlag der Gesellschaft für vervielfältigende Kunst, Wien" lower left Plate size: 16,93 x 16,93 in; sheet size: 21,89 x 17,8 in Published in the annual portfolio of the Gesellschaft für vervielfältigende Kunst; slight damage to the right side edge, does not disturb the overall impression; Provenance: Austrian private collection.
Lehner Kunstauktionen
Nov. 14, 2023
Carl Moll, Vienna 1861 - 1945 Vienna, Harvest wagon at the lake
Est: €12,000 - €20,000
Carl Moll Vienna 1861 - 1945 Vienna Harvest wagon at the lake Oil on canvas 31.7 x 39.3 cm, with frame 41.5 x 49 cm Signed & dated 1878 b.r. Adhesive label with autograph dedication (fragment) on the reverse: Sein[nem] [Fre]unde/ [Her]mann Sch [...] / [Zur fre]undlichen Erinnerung / Carl Moll Provenance: Herrman Sch. - Kunstsalon Menzel, Salzburg - until 1977 Max Dasch, Salbzurg - private property This work is a student work by the 17-year-old Moll under the landscape painter Carl Haunold. Literature: Cornelia Cabuk, Carl Moll. Monografie und Werkverzeichnis, Belvedere Werkverzeichnisse Band 11, GE 1, p. 108.
Tiberius Auctions