L11104

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Lot 14
  • 14

Vilmos Aba-Novák

Estimate
20,000 - 30,000 GBP
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Description

  • Vilmos Aba-Novák
  • Figures in a Village Market
  • signed ABA-NOVÁK lower right

  • tempera on board
  • 60.5 by 80cm., 23¾ by 31½in.

Provenance

Tibor Weiner; thence by descent to the present owner

Condition

Apart from 2 small dents, one in the centre near the upper edge, the other to the left of the towers, (the former retouched), and scattered minor strokes of retouching visible under UV light along the extreme upper edge and in the grey pigments in the lower left, overall this work is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Painted circa 1928-1932.

Tibor Weiner was a Catholic priest. His father was French, and his mother of noble Hungarian descent. Having received his theology doctorate in Vienna in 1915, he worked as a priest in Hungary. A keen interest in the fine arts and ethnography resulted in Weiner amassing one of the most notable private collections of modern Hungarian art by the 1930s. He sent his family to the US before the outbreak of the Second World War, while he himself fled to Rakospalota, outside Budapest, taking the majority of his collection with him. After his death in 1978, the part of the collection that had remained in Hungary languished in various cellars in Rakospalota, until it was traced by the art historian Janos Dömötör and added to the city's Tornyai Janos Museum in 1989.