(Vienna 1896–1970 Klosterneuburg)
‘Tennisplätze (I)’, signed, dated Sergius Pauser 1927, as well as titled on the reverse and with multiple stamps: Sergius Pauser, Maler, Wien II., Vorgartenstrasse 140, Telefon R-47–0–90 and Sergius Pauser, Wien V., Rechte Wienzeile 85/26, Telefon B-23804, oil on canvas, 45 x 57 cm, framed

Illustrated and listed:
Rupert Feuchtmüller, Sergius Pauser, ed. by Angela Pauser, with a catalogue raisonné, Edition Tusch, Vienna 1977, p. 174/31

Provenance:
Josef Zadra (born 1879), Karwiná CSSR
Gottfried Berger Collection, Vienna – Montreal, Canada, by 1953;
Sotheby’s New York, 29 September 1993, lot 117A;
Private Collection, Vienna

Already in 1927 the young artist was accepted into the Vienna Secession as a highly promising artistic talent. ‘If he perfects himself in his art,’ wrote the poet and art critic Max Roden on 5 December in the Volkszeitung, ‘and at the pace at which he works, then Sergius Pauser will soon be a leader amongst the young artists...’ At this period Pauser was painting portraits such as the wife of his friend, the painter Ernst Huber, or the portrait of the banker Leo von Preleuthner; then again flowers, tulips and catkins in front of dark drapery or in front of pale pinkish grey or in front of the view of a harbour which, although invented, nevertheless anticipated the style of his later city views. In 1927, with cool elegance, the work ‘Spiel am Tennisplatz’ was created, a work which Born described as ‘magical’....
from the aforementioned literature

Illustrated and listed:
Rupert Feuchtmüller, Sergius Pauser, ed. by Angela Pauser, with a catalogue raisonné, Edition Tusch, Vienna 1977, p. 174/31

Provenance:
Josef Zadra (born 1879), Karwiná CSSR
Collection Gottfried Berger, Vienna – Montreal, Canada, by 1953;
Sotheby’s New York, 29 September 1993, lot 117A;
Private Collection, Vienna

Already in 1927 the young artist was accepted into the Vienna Secession as a highly promising artistic talent. ‘If he perfects himself in his art,’ wrote the poet and art critic Max Roden on 5 December in the Volkszeitung, ‘and at the pace at which he works, then Sergius Pauser will soon be a leader amongst the young artists...’ At this period Pauser was painting portraits such as the wife of his friend, the painter Ernst Huber, or the portrait of the banker Leo von Preleuthner; then again flowers, tulips and catkins in front of dark drapery or in front of pale pinkish grey or in front of the view of a harbour which, although invented, nevertheless anticipated the style of his later city views. In 1927, with cool elegance, the work ‘Spiel am Tennisplatz’ was created, a work which Born described as ‘magical’....
from the aforementioned literature