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Karoly Ferenczy

Hungary (1862 -  1917 )

May 16, 2011
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Artworks in Arcadja

Some works of Karoly Ferenczy

Extracted between 38 works in the catalog of Arcadja
Karoly Ferenczy - A Winter Landscape

Karoly Ferenczy - A Winter Landscape

Starting price:


Lot number: 1564
Description: Signed lower right: Ferenczy K.Károly Ferenczy began studying art at the academy in Naples in 1885 and continued his training, after a short stay in Munich, at the Académie Julian in Paris under Tony Robert-Fleury and Adolphe William Bouguereau from 1887-89. There he made the acquaintance of the painters István Csók and Béla Iványi-Grünwald.From 1889-1893 Ferenczy lived with his wife, the painter Olga Fialka, in Szentendre in northern Hungary, where he befriended Simon Hollósy and István Réti. He was a member, and later a teacher, at the artist's colony in Nagybánya (Baia Mare/Romania). Following a successful exhibition in Budapest in 1906, he was given a position at the pattern painting school in Budapest (predecessor of the college of fine arts), after which he only spent the summer months in Nagybánya. In 1907, Ferenczy became a founding member of the MIÉNK (Magyar Impresszionisták és Naturalisták Köre), or Hungarian Association of Impressionists and Naturalists. His work has been honoured with numerous prizes and he is considered the father of Hungarian Impressionism.
Notes: VAT: Margin scheme
Provenance: Private ownership, North Germany.
Dimensions: 47.5 x 68 cm
Artist or Maker: Károly Ferenczy
Medium: Oil on card
Karoly Ferenczy - Sea

Karoly Ferenczy - Sea



Gross Price
Lot number: 15
Károly Ferenczy

1862 - 1917



signed Ferenczy K. upper right

oil on canvas

70 by 98.5cm., 27½ by 38¾in.

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Saleroom Notice


Jozsef Lukacs Szegedi, Budapest (probably acquired from the artist); thence by descent to the present owner


Budapest, Mücsarnok, Karoly Ferenczy Memorial Exhibition, 1922, no. 15


Istvan Genthon, Ferenczy Karoly, Budapest, 1963, no. 169

Istvan Genthon, Ferenczy Karoly, Budapest, 1979, no. 178

Judit Boros & Edit Plesznivy (ed.), The Retrospective Exhibition of Károly Ferenczy (1862 -1917), exh. cat., Hungarian National Gallery, Budapest, 2011, no. 190, pp. 224 & 333, illustrated; p. 358, catalogued

Painted in 1904 in Lussingrande on Lussin Island (Lošinj), Croatia.

Generally considered the father of modern Hungarian art, Ferenczy, together with Rippl-Ronai is the most important Hungarian Impressionist and Post-Impressionist painter. Born in Szentendre, Ferenczy founded the Nagybánya artists' colony in 1896 after having completed his studies in Munich and Paris, and became one of its leading figures. Whilst he was a fairly prolific painter most of Ferenczy\’\’s important works are in museum collections in Hungary, and it is extremely rare to be able to offer a major work by the artist on the international art market.

In the eighteenth and nineteenth century Lussin


a small island in the Adriatic Sea in the Gulf of Quarnero, together with the adjacent islands of Veglia and Cherso formed an administrative district in the Austrian dominion of Istria. Lussingrande, in the south east of the island, became a popular winter resort in the nineteenth century due to its mild climate, and it is likely that Ferenczy visited the island as a tourist.

Lussin island is formed predominantly of chalk limestone and dolomite rocks and Lussingrande sits on a rocky outcrop above the sea. The distinctive rocks of its coastline are masterfully depicted by Ferenczy in the lower left corner of Sea in sculptural swirls of rich impasto. However, most of this poetic composition is devoted to capturing the beautiful, intense blue of the Adriatic sea surrounding the island, and the clear blue sky. The horizontal lines of rich blue bands of sky and sea give the painting an almost abstract quality. Ferenczy painted only a few pure landscapes and only two sea views, including the present work, are known in his oeuvre.

Sea was purchased in 1922 by Jozsef Lukacs, a prominent Hungarian financier, collector and patron of the arts, who lived in Budapest at the turn of the century, and has remained with his descendants ever since. Lukacs and his family were friends and supporters of the Hungarian artists association The Group of Eight. Lukacs' son had written the passionate manifesto 'The Roads divided' in defence of the 1909 art exhibition of The Group of Eight, and his daughter Mici was a close friend of Deszö Czigány. Lukacs' collection included works by fellow Hungarians Robert Bereny, Jozsef Nemes Lamperth, Deszö Czigány, Jozsef Rippl-Ronai, and Karoly Kernstok. After Lukacs' death, his widow donated his seminal painting Lonely Rider by Kernstok to the National Gallery, Budapest.
Karoly Ferenczy - Parrots

Karoly Ferenczy - Parrots

Original 1910

Price: Not disclosed
Lot number: 70
Not signed
Exhibition label on the reverse from 1911
István Genthon: Ferenczy Károly, Budapest, 1979, pict.121.
Károly Ferenczy's Birds'Singing is said to be the first modern
Hungarian painting. Though it was painted three years before the
foundation of the Nagybánya-school, it was taken as a 'real'
Nagybánya-paining and the master was invited to the school by the
enthusiastic young painters. Though Ferenczy was reckoned to be a
naturalist by his contemporaries flirting with avantgarde, the
painter did not care about isms and labels. He wanted to find his
own way; it must have been the reason for his denying his early
pictures that were too similar to that of Bastien-Lepage's works,
whose pictures inspired his painting at that time. In 1906 Ferenczy
- to Szinyei Merse's invitation - became the teacher of the School
of Art, from which later the Academy of Art was founded. He also
was the leader of the Circle of Hungarian Impressionists and
Naturalists that represented the progressive painters'
In the 'shadows' of the portraits, Biblical compositions and
landscapes, for which the painter became famous, Ferenczy painted
several still lifes as well. Most of them were painted in his
studio in Budapest.
The Parrots is known in two versions. The main 'figures' of the
picture are two parrots and a pigeon, made of china; the two
pictures can be differentiated by the situation of the parrots. The
background of both pictures are draperies arranged in a picturesque
way. It makes the pictures akin to his later nude compositions. It
is well-known that Ferenczy was dealing a lot with the relationship
of the 'theme' and the 'workmanship' of the picture. In one of his
letters he wrote about a work of him the theme of which was not
really elevated but 'it can get a kind of magic by its
workmanship'. The same magic can be felt in the picture presented
here. Ferenczy, as a real colorist, painted the parrots by stains
of colors, which is so characteristic of him. The Netherlandish
artists, whom he liked very much, also painted still lifes with
parrots. The parrot has a symbolic meaning in Christian symbolics:
it stands for the followers who should repeat the apostles prays
that praise God just like a parrot repeats human words. It is not
likely that Ferenczy had any moralizing intention when painting the
picture; he must have been enchanted by the vivid colors, the
exoticism of the china birds.
Karoly Ferenczy - Est

Karoly Ferenczy - Est

Original 1912


Net Price
Lot number: 96
Karoly Ferenczy - Est (fürdozo Férfiak), 1912

Karoly Ferenczy - Est (fürdozo Férfiak), 1912

Original 1913

Price: Not disclosed
Lot number: 19090
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