Franz Fiedler (Proßnitz 1885 – 1956 Dresden)

Portrait of Artist Georg Gelbke (1882-1947) holding an Etching Plate

[Georg Gelbke mit Radierplatte]

circa 1920s

gelatin silver print on baryta paper

16 x 21.7cm

mounted on cardboard at each of the upper corners

lower right in pencil signed: "Franz Fiedler"

The Daulton Collection

Condition: slight silvering; base cardboard soiled, creased and frayed at the corners.

Fiedler's studio stamp is on the mount:

Franz Fiedler (Proßnitz 1885 – 1956 Dresden)

Portrait of Artist Georg Gelbke (1882-1947) smoking a Pipe

[Georg Gelbke, Pfeife rauchend]

circa 1926

gelatin silver print on baryta paper

16 x 22 cm

mounted on cardboard at each of the upper corners

lower right in pencil signed: "Franz Fiedler"

The Daulton Collection

Condition: slight silvering in the edge areas; somewhat scratched and with moisture-related bowling on the right half of the photograph; base cardboard slightly soiled, creased and frayed at the corners.

References:

Helmut Grunewald, Franz Fiedler und seine Zeit. Eine Studie zur Geschichte der Fotografie (Halle 1960), Cat. Nr. 33.

Franz Fiedler. Fotografie, Photographs, Fotografien (Brünn 2005) (catalogue of the exhibition at Muzeum Prostejovska 30.6. – 28.8.2005 and Moravská Galerie 15.12.2005 – 5.3.2006), Cat. Nr. 61.

"Franz Fiedler bezeichnete diese sorgfältige Bildleistung als "Studie". Das von der rechten Seite und von links oben geführte Licht charakterisiert den vergeistigten, energischen Kopf. Durch aufmerksamens Beobachten gelang es überdies, den Dargestellten in einer für ihn typischen Haltung zu erfassen." (Grunewald, S. 127.).

["Franz Fiedler referred to this careful pictorial achievement as a 'study.'  The light guided from the right side and from the top left characterizes the spiritualized, energetic head. By observing carefully, it was also possible to capture the sitter in a posture typical of him." Grunewald, above, at p. 127.]

Franz Fiedler (Proßnitz 1885 – 1956 Dresden)

Portrait of Artist Georg Gelbke (1882-1947) in his Atelier, looking to the left

[Bildnis Georg Gelbke in seinem Atelier, Blick nach links.]

circa 1920

gelatin silver print on baryta paper

glued to a cardboard mount at the top edge

17,1 x 17 cm print; 32,8 x 23,3 cm mount

on the mount lower right in pencil signed: "Franz Fiedler"

in an embossed cardboard cover/envelope

The Daulton Collection

Condition: Slight silvering in the edge area. Cover slightly creased and light-stained.

Franz Fiedler (Proßnitz 1885 – 1956 Dresden)

Portrait of Artist Georg Gelbke in his Atelier, Smoking a Pipe, version 2

[Bildnis Georg Gelbke in seinem Atelier]

circa 1920

gelatin silver print 

mounted on yellowish cardboard by adhesive at the upper edge

15,8 x 22,5 cm print; 23,9 x 33,1 cm mount

on the mount lower right in pencil signed: "Franz Fiedler"

The Daulton Collection

Condition: Print with silvering in the margins and isolated scratches. Paper curved.

Biographical Details regarding Franz Fiedler:

"Schüler von Hugo Erfurth und 1908–11 Mitarbeiter in dessen Atelier. Preisträger bei der Weltausstellung 1911 in Turin. Um 1913 war Fiedler in Prag tätig und gehörte dort dem Kreis um Jaroslav Hasek und Egon Erwin Kisch an. Nach dem Umzug nach Dresden 1916 arbeitete er ab 1924 als einer der ersten Berufsfotografen mit der Leica. Seine Publikation über die Stadt Dresden im Geist der Neuen Sachlichkeit, einer der ersten topografischen Bildbände, die nach den Prinzipien der neuen Fotografie entstanden sind, stellt einen bedeutenden Wendepunkt in seinem Schaffen dar. Bei der Zerstörung seines Ateliers am 13. Februar 1945 wurde der größte Teil seines Schaffens zerstört."  SKD

[Fiedler was a "student of Hugo Erfurth and employee in his studio from 1908 to 1911. Prize winner at the 1911 World Exhibition in Turin. Around 1913, Fiedler worked in Prague and was part of the circle around Jaroslav Hasek and Egon Erwin Kisch. After moving to Dresden in 1916, he was one of the first professional photographers to work with the Leica from 1924 onwards. His publication on the city of Dresden in the spirit of New Objectivity, one of the first topographical illustrated books created according to the principles of the new photography, represents a significant turning point in his work. When his studio was destroyed on February 13, 1945, most of his work was lost."]  SKD

Contact:

The Daulton Collection

thedaultoncollection@outlook.com