Anton Seder

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Anton Johann Nepomuk Seder (born January 11, 1850 in Munich ; † December 1, 1916 in Strasbourg ) was an art professor and director of the School of Applied Arts in Strasbourg.

Career

Bavarian state coat of arms from the title vignette of the magazine Das Bayerland (1906), signed by Anton Seder, 1889

At the age of 19, the son of a master inspector enrolled in the registry of the Academy of Fine Arts in Munich . Before being appointed director of the Strasbourg School of Applied Arts, 40-year-old Seder had made a name for himself as a painter and craftsman. He also taught at the Kunstgewerbeschule Technikum Winterthur and directed it from 1878 to 1882. His brother was the architect and craftsman Adolf Seder (1842–1881), who at the time was a very well-known personality in the renowned Bavarian Arts and Crafts Association in Munich. Just as artistically gifted as his older brother Adolf, Anton Seder became director of the School for Craftsmen in 1890 - from 1894 arts and crafts school - in Strasbourg in what was then Alsace-Lorraine .

Anton Seder is considered one of the most capable artists of Art Nouveau , an art movement that was named after the Munich magazine Jugend . His versatile talents initially allowed him to work as a sculptor at the Royal Art Academy in the Bavarian metropolis, as a decorator at the arts and crafts school, as an architect and painter, and also for his brother. Several stays in Italy and his training in Munich were beneficial to his professional development as professor and director in Strasbourg. Seder devoted himself in his artistic work to the plant in art and trade and to the animal in decorative art and naturalistic decorative paintings. For the goldsmith's atelier Heiden in Munich, Anton Seder supplied his artistically imaginative templates for the production of chains of honor and decorative trophies as well as centerpieces made of precious metals, some of which were decorated with precious stones.

In the Society for the Preservation of the Historical Monuments of Alsace, he worked as an honorary member in the compilation of a register of ecclesiastical, military and civil works of art. Anton Seder was particularly interested in the work of the Renaissance artist, architect, master builder, painter and copper engraver Wendeling Grapp, known as Wendel Dietterlin , who left his mark on Strasbourg. Seder described himself as “the closely observing expert and connoisseur of Dietterling”. However, Professor Seder admitted that his remarks on Dietterlin and his work at the end of the 16th century could be incomplete because “we really don't know much about life and work of the Strasbourg artist (to know) ”. In his essay on the Renaissance artist, Seder expressly referred to his importance in the art history of Alsace and in the “revival of German handicrafts in the sixties and seventies of the nineteenth century”; In this context he mentioned Munich, the “southern German art metropolis”. Seder's contemporary Friedrich Pecht attributed the architectural knowledge of the art professor to his study trips to France and Italy. As a critical author, Anton Seder treated a wide variety of works of art during his time in Strasbourg, which were assigned to the arts and crafts of the time, and he proved himself to be a deeply thinking, keenly observant artist . In an ironic way he looked at the mania rampant everywhere in Germany to adorn our cities with monumental works of sculpture and wrote that the monuments that have been created in such large numbers over the last 30 years are like one another like eggs. He criticized the often highly dubious artistic creations. which were erected after 1870/71 in the form of monumental works, and honored the works, which were unaffected by every jury, by every monument committee and patronage, under the hands of an independent, God-gifted artist, who through his extraordinary talent and thorough study at a height has reached that he is recognized as one of the very first even by his peers. have arisen. Experience has shown that he was aware that someone was thoroughly original, completely different in their conception, in their work and in the entire ensemble. designed work the criticism of those who feel they have a job as well as of every unauthorized person. challenges. Due to his numerous publications, especially when Seder worked in Strasbourg, the skilled craftsman is also referred to as a specialist writer .

Seder and the secessionists

There is evidence that A. Seder conducted a polemic from Strasbourg in March 1899 against artists who had split off from older artist groups in order to pursue their own goals. In his eyes, the "so-called Secessionists " rejected any "reference to earlier styles " with the "slogan": "Away with the old styles, which are now finally used up!" And he continues with an ironic: "... these gentlemen who do only bring >> new things <<, (seem) to be of the opinion that the treasures put up in prehistoric and ethnographic collections are set up just for them and that you can borrow from them without anyone else having a clue Has. In addition, plants and other natural forms, which they naturally only discovered, are used as decorative jewelry, usually more based on Japanese models than nature, as completely "new". " The author “Prof. Anton Seder Director of the Kunstgewerbeschule in Strassburg " work designed in Art Nouveau style with his initials> AS <on the book cover provides information about his artistic motivation and his relationship to the Secession:" For many years active and teaching in various directions for the arts and crafts , the author of the present little work has always tried to point out nature and uphold it as a teacher of all art. Having been familiar with the old styles for many years and constantly dealing with the forms of nature, he has come to the conviction that in architecture and the decorative arts only redesigns are created through remodeling or regression, but nothing really "new" can. ”His conclusion is:“ ... therefore when looking at the latest creations of our most modern applied arts designers one involuntarily says to oneself : >> Everything has already been there << ”. Anton Seder hoped that the “objects he invented and drawn are usable” and that they “meet the demands” of his “modern times.” In his criticism of new developments in the arts and crafts, Anton Seder could be quite snappy and provocative, especially if the principle he advocated of "creating new things in the spirit of the old" was not adhered to, as in his opinion at an exhibition in the Darmstadt artists' colony in 1901. Seder's evaluation of the exhibition speaks of "secessionist exaggerations".

Works

Famous was that of Seder in Strasbourg 1895-built as watercolors and bronzed pen drawing design and executed in the studio of Hofgoldschmiedes Theodor Heiden 1896 in Munich honorary trophy for German male choirs , the Kaiser Wilhelm II. , As announced by decree in 1895, had donated. In the sample sheet Das Thier No. 12 from 1895, Seder used a font he designed in the Art Nouveau style as well as in the commissioned work for the Kaiserpreis, on the one hand to name the lyric poets such as Arndt , Brentano , Körner , Scheffel and Uhland, and on the other hand also the by the composers Brahms , Jensen , Koschat , Schubert and Schumann in decorative capital letters . The goldsmith's work was decorated with precious stones - a black , a white diamond and a ruby -, which were supposed to symbolize the national flag of the German Empire , according to Seder's drawing . A precious metal label indicated the design by Art Nouveau artist Prof. Anton Seder for this work. At the 1st singing competition of the men's choirs in Kassel in 1899, the challenge prize was awarded to the winner of the Cologne men's choir for the first time in the form of a chain with Art Nouveau elements. At the IV competition of German men's choirs in 1913 in Frankfurt am Main , the challenge prize was awarded to the Berlin teachers choir for the last time after the second competition in 1903 and has remained in its possession until 1945. At the end of the Second World War , the golden chain disappeared from a bank safe in Berlin-Charlottenburg and has been missing ever since.

For the first year (1901) of the magazine Das Kunstgewerbe in Alsace-Lorraine , of which Seder was co-editor alongside the art historian Franz Friedrich Leitschuh , he designed the cover and used his own Art Nouveau pamphlets, as used in his designs for chains of honor:

  • Honorary chain of the mayor of Metz with the motto Ludwig XIV. For this city: "It is in good hands" (1893)
  • Necklace of honor from the mayor of Strasbourg
  • Chain of Office of the Lord Mayor of Wiesbaden (1897)
  • Chain of office of the Rector of the University of Strasbourg

These chains of honor were donated by Kaiser Wilhelm II .

Another part of Seder's artistic oeuvre is the draft of a wrought-iron grille with Art Nouveau ornaments for the Magdalen Church in Strasbourg, made in 1895 by the locksmiths department of the Strasbourg School of Crafts. Seder created a draft for another blacksmith's work, which was also carried out by the metalworking department: a multi-armed, ornate street lamp, which was intended for Gutenbergplatz in Strasbourg. However, the candelabra was criticized as a “distorted image of an orange tree”. The tall lantern stand was actually set up on Gutenbergplatz at the level of the tram stop, but with a different design: the spherical lampshades were replaced by three glass cylinders in a wrought iron frame and with Art Nouveau decorations. Seder's adopted home hosted a trade exhibition in the mid-1890s . For this, the Art Nouveau artist designed a two-tone poster (blue and gold) in the format 64 by 88 cm with the following text in capital letters, but in different font sizes:> Industry & Trade Exhibition in Strasbourg i. E. Exhibition area: Alsace-Lorraine, Baden and Palatinate May 15 - October 15, 1895 <. The tower of the Strasbourg cathedral , which was crowned with gold-colored leaves and whose base was adorned with the Latin name of the city> ARGENTORATUM>, was a special eye-catcher . Seder symbolized the exhibits from industry and trade within a second golden wreath on his color lithograph with: Smoking factory chimneys, a large cogwheel (“worm wheel”) and various hand tools such as a handle hammer, pliers, a shovel and the like. a. m. A running fountain with a laurel wreath wearing the goddess of victory rounded off this symbol. An Art Nouveau multi-leaf flower bridged the space between the two eye-catchers. Around 1900, the court goldsmith Theodor Heiden carried out in close collaboration with Anton Seder, whose design for the work of art The Grail , a centerpiece that bears features of Art Nouveau such as the tendril weave around the Grail vessel. An equally impressive piece of work is the silver and partly gold-plated, 64.8 centimeter high goblet that was created in 1888 from a design by Anton Seder and is decorated with an agate on the lid.

Rappoltstein by Anton Seder, 1902

On the occasion of the 70th birthday of the former Strasbourg police director and later mayor Karl August Albert Otto Back , the art professor designed an honorary gift from the citizens of Strasbourg in 1904 for his patron , which was made in silver with zinc gilding with the inscription Argentoratum , the Latin name of the Romans for one of their border fortresses in Alsace. During his time as director, Seder also made the decorative design for a drinking horn for the Catholic student corporation AV Rappoltstein , which was founded in 1905 and which pupils at the Strasbourg School of Applied Arts took care of. Art Nouveau elements, e.g. B. hop umbels and ears of corn adorned the Rappoltstein drinking horn together with several colored coats of arms as enamel work below the drinking opening, the rim of the mouth, including the German imperial eagle in Art Nouveau style and the coat of arms of the former Upper Alsatian (today: Fr.Dép. Haut-Rhin) noble family Rappoltstein . The valuable original drinking horn was stolen in the 1980s and has been lost ever since. Anton Seder painted the mountain Rappoltstein in the Vosges with the same castle and at the foot of the village of Ribeauvillé (Ribeauvillé) in 1902. The painting is one of a trilogy with the other murals Odile ( Mont Sainte-Odile ) and Metz . Sheets I, II and III were mounted as art prints on cardboard as well as on canvas and distributed together with a removable frame by the publishing house of the school bookstore A. Fuchs in Zabern . The publishing house, which also owned a printing company, also published Seder's murals as black and white images in his school book Heimatkunde von Elsaß-Lorhringen. How versatile Anton Seder was as a specialist writer is shown by the topics he took up. For example, he devoted himself to sewing machine embroidery. On Gutenbergplatz in Strasbourg from November 14th to 22nd, 1903, an exhibition on machine embroidery took place in the rooms of the civilian casino, which A. Seder dealt with from an artistic point of view. After the author had introduced the advantages of hand embroidery, he broke a lance for the then new sewing machine embroidery and justified why the machine embroidery "(must) be designated as artistic products" by saying that "those on the sewing machine embroidered work ... a complete familiarity with the technique of hand embroidery presupposes (assuming) ”. In order to achieve a “really artistic success”, he called a “thorough study of hand embroidery” and “persistent long practice” as well as planning at least the same amount of time as for the production with hand embroidery. The expert author also commented critically: "With regard to the drawing and the color combinations, the majority of the exhibited works could be described as good, although too much had happened to most of the good and the taste often left a lot to be desired". Seder's conclusion is remarkable: “The advantage of sewing machine embroidery ... lies mainly in smaller, often repetitive work ... and where it is important to produce as much and precisely as possible in the shortest possible time and where the intention is not to deliver works of art, but rather by and large to achieve a pretty effect, as our changing women's fashion demands today. "

Decorative painting

In the history of Munich art in the nineteenth century , Friedrich Pecht points out that Anton Seder came from theater painting, that is, decorative painting, before he turned to handicraft drawing. After Seder returned to his hometown from teaching at the Technikum in Winterthur in 1882, he was commissioned to manage the interior decoration of a café in Munich. Seder expressed his doctrine of decorative painting in a description of student works in 1903, which were made in the decorative painting composing department of the Strasbourg School of Applied Arts. He explained the principle of decorative painting he established, namely to decorate a given room atmospherically with relatively simple means: “Simple plants or interior motifs ... are used in finely coordinated, mostly broken colors according to the basic rules of color theory , to decorate the room Seder saw color moods as the taste of his time, “which are reminiscent of the shimmering peacock feathers or the iridescence of antique patinated glasses or the colorful, soap-bubble appearance of the Mexican noble opal .” He came to the conclusion: "The main attraction of our modern decorative painting lies in the use of these finely perceived colors and elegant lines ..." and justified it with the words: "Because these shapes and colors, which are almost always borrowed from nature, become ... the eye of the beholder exert a similar charm as nature itself. ”Anton Seder ha tte published his original knowledge of decorative painting six years earlier in the work Naturalist Decorationsmalerei , published in Berlin, in hand-crafted color drawings on several panels.

Private and miscellaneous

Anton Seder was a Roman Catholic denomination and devoted himself to Christian motifs, among other things. His second marriage, on July 16, 1909 in Strasbourg , was with Felicitas Franziska Maria Berghammer, born on May 10, 1865 in Vienna , his first marriage to Eleonore, née Rossnagel. His self-portrait, which Seder designed as a vignette for the title page of the template book The Plant in Art and Crafts , shows a side profile wearing glasses with a high forehead, a brushed hairstyle, strong eyebrows and a mustache. Ten years after the death of Anton Seder, the former director of the Strasbourg Art Museum and honorary professor at the University of Strasbourg, Ernst Polaczek , recalled the role of the “performing arts” and the “cultural-political” significance of the city's “arts and crafts school with painting and sculpting classes”. He characterized the director of the arts and crafts school as a "teacher of a personal kind, very foreign to Alsace ...". Polaczek emphasized that the artistic work of painters and sculptors in Alsace - including those who “the applied art school itself” - first “spent” their years of scholarship in Munich - then in Paris ”purposefully“ spent ”their years of apprenticeship and concluded from this“ ... To speak of an Alsatian peculiarity of this art "would be" unjustified "because its artistic" way of expression ... was almost entirely formed and determined by art centers outside of Alsace ". Obviously with a view to Seder as a painter, Pollaczek added: “Alsatian landscape motifs are not enough” to speak of an independent performing arts “in this half century” of Alsace's membership in Germany.

The young Seder met Theodor Heiden from Munich in Vienna during his apprenticeship years. This encounter and family and business relationships between Heiden and Seder's older brother, who had married a sister of Heiden, led, after his early death, to Anton Seder as inventor or designer - engraved signature INVENIT: A. SEDER. STRASSBURG - on numerous works by the Munich court goldsmith - Signature: FECIT: TH. HEIDEN. MUNICH. - was often artistically involved in place of Adolf Seder. Where there was a lack of space, such as the chain for German men's choirs produced as a challenge prize, the authorship was given in more detail. There it says on the back of the chain clasp: Invented and drawn by Prof. Anton Seder. Executed by court goldsmith Theod. Heiden in Munich 1896 with Seder An. In Munich , in 1886, he signed one of his templates with the title Waldrebe, Wilder Wein, Winde I for the panel work The Plant in Art and Trade and at the same time paid tribute to the publisher Gerlach, Mart by naming it on the collotype . Vienna . The latter published the depiction of the most beautiful and well-shaped plants ... which were intended as examples for practical use for the entire field of art and applied art . Due to its orientation towards natural models, this portfolio of templates contributed to the spread of a new vocabulary of forms and replaced the copying system that had been common up until then in applied art. Seder pioneered his lessons at the Strasbourg School of Applied Arts from the classroom every now and then to the open air, where he had his students draw directly from nature, which led to an independent interpretation of the natural environment and the fruitful development of the study of ornamentation.

On the occasion of the first competition for shop window decoration in Strasbourg in December 1903, Anton Seder, as a member of the jury, dealt with the question of whether such exhibitions can help to further educate the people's taste in art. Professor Seder put forward the thesis: "Experience has shown that the real 'people' go very little to ... museums for various reasons, so that these cannot be considered as creating taste for the general public." He recalled how education once was on> Folk Art> or the “taste formation of the large public” took place: “In the past, it was the churches, furnished with love and care by the most important artists, which created taste with their powerful language of the noblest art the mass of the people had an impact and left the most lasting impression, which involuntarily carried over to the smallest objects of daily use and so in the true sense evoked a 'folk art'. "Finally, Seder put forward the thesis:" The street with its shop windows, with their tastefully arranged displays is today probably the most important means of educating the people, if not for Ku nst, so at least for the understanding of good forms for objects of daily use and thus for the demand for a "folk art" which will then certainly develop by itself, just as it developed earlier from need without special education ”. In his assessment of the shop window displays, the judge Seder was guided by criteria such as “an extremely fine assortment of colors” and “decorated with an outstandingly fine sense of form and color composition”. At the end of his remarks, the director of the Strasbourg School of Applied Arts appealed for such shop window competitions as " to promote and support non-profit events ...". In his specialist articles and works, Seder made extensive use of proverbs and classic quotations due to his comprehensive general education, for example: The old falls, time changes, and new life blossoms from the ruins.

Honors

Anton Seder honored his hometown Munich in 1969 by renaming the street from Kleinhesselohe to Sederanger . Seder earned merit here together with his brother in the "decoration in the Palais of Prince Leopold". At the beginning of his work in Strasbourg, Anton Seder was entrusted with the task of showing Kaiser Wilhelm II the training facility for future craftsmen and craftsmen and accompanying him on a tour of the Museum of Decorative Arts, which was captured in the picture. The school building, which was built in Strasbourg during his tenure as director in 1892/93 and is still in existence and used as the École supérieure des arts décoratifs des Strasbourg , has been listed as a monument since 1981. Anton Seder is represented by the allegories he designed in the style of Art Nouveau and attached to the facade of the School of Applied Arts with the help of tiles: Pictura, Archeology; Sculptura, geometry; Architectura, Scientia honored, together with the builders and architects Ott and Röderer, especially because they erected the building as one of the first structures of the early Art Nouveau. On the occasion of the 1893 world exhibition in Chicago, an inventory of the German arts and crafts was carried out, in which Prof. Anton Seder was honored. The Seder of designed and the Munich artist blacksmith Hans Mayer created Church chandelier was in the book published by the Bavarian Art Club deluxe volume displayed both as also described in detail in German and English. In the explanation for plate 25 (church chandelier) it is expressly appreciated that the "forged iron chandelier ... one of the first successful attempts to give the newly emerged incandescent light an artistically satisfactory version." In the advertisement section, the publishing house for art and Commercial Gerlach & Schenk in Vienna a full page ad in the Seder has become known worldwide plant the plant in arts and crafts , among others is advertised with the words: "After original compositions by the best artists. Stylistics by Prof. Anton Seder. "In the description of the city of Strasbourg and the cathedral from the year 1901 by Julius Euting it is mentioned that the" School of Applied Arts ... under the direction of Professor Seder is (is) flourishing. "

Web links

Commons : Anton Seder  - collection of images, videos and audio files

swell

  • Festival book for the 1st singing competition of German men's choirs for the challenge prize donated by His Majesty the Emperor and King on May 25, 26 and 27, 1899 in Cassel. OCLC 179820117 .
  • Official festival book for the 2nd competition of German men's choirs in Frankfurt am Main June 3 to 6, 1903. OCLC 643957551 .
  • Official festival book. Third competition of German men's choirs in Frankfurt am Main, May 19-22, 1909.
  • Official festival book for the 4th competition of German men's choirs for the challenge prize donated by Sr. Majesty the Emperor and King from May 5th to 8th, 1913 Frankfurt am Main. Frankfurt am Main 1913, OCLC 560312035 .
  • Berthold Feige: 75 years of the Berlin Teachers' Choir 1887–1962. Berlin-Zehlendorf 1962, DNB 451226798 .

Literature (selection)

  • Friedrich Franz Leitschuh: The applied arts in Alsace-Lorraine. Ludolf Beust publishing house, Strasbourg, years 1901 to 1906 (digitized version)
  • Anton Seder: The arts and crafts school in Strasbourg in Alsace and its development. Templates for the arts and crafts. Ludolf Beust publishing house bookstore, Strasbourg, 1901.
  • Anton Seder: New aspirations in drawing lessons. Strasbourg, 1901.
  • Anton Seder: Modern Paintings. Ernst Wasmuth Verlag, Berlin, 1903.
  • Deutsche Bauzeitung, Volume 50 (1916), p. 520.
  • Jean-Claude Richez: Strasbourg School of Applied Arts (1889–1914). ( PDF file; 1.3 MB ).

Individual evidence

  1. ^ Information on September 11, 2012 from Thomas Weidner from the Münchner Stadtmuseum, which contains parts of Anton Seder's estate.
  2. ↑ a b Otto Grautoff: The development of modern book art in Germany . Seemann, Leipzig 1901, p. 30. (digitized version)
  3. ↑ Register book of the Academy of Fine Arts 1841–1884 (accessed August 9, 2012)
  4. ↑ For example, Anton Seder created the painting “Oriental City with a Move” in 1875 (oil on canvas, height 75.8 cm, width 153 cm) and signed and dated it lower right. The same motif was painted by Seder as an oriental temple scene . Fig. Oriental temple scene
  5. ↑ General Lexicon of Fine Arts. Volume 30, Leipzig 1936, p. 422 under "Seder, Adolf"
  6. ^ Hyacinth Holland :  Seder, Adolf . In: Allgemeine Deutsche Biographie (ADB). Volume 33, Duncker & Humblot, Leipzig 1891, p. 526 f.
  7. ^ Name in Strasbourg: École des Arts Decoratifs Facade of the building fr. Wikipedia, image Freddo 2008
  8. ^ Association statutes and membership directory in the online archive of the Société pour la conservation de monuments historiques d 'Alsace
  9. ↑ Cf. Anton Seder: Wendel Dietterlin. In: The arts and crafts in Alsace-Lorraine. 1st year, issue 2, pp. 54–56.
  10. ^ Anton Seder: Wendel Dietterlin. In: The arts and crafts in Alsace-Lorraine. 1. 1900-1901, p. 54.
  11. ^ A b Anton Seder: Wendel Dietterlin. In: The arts and crafts in Alsace-Lorraine. 1. 1900-1901, p. 56.
  12. ^ Friedrich Pecht: History of Art in the 19th Century. Munich 1888, p. 447.
  13. ↑ cf. z. B. Anton Seder: The Reinhard Fountain in Strasbourg. In: The applied arts in Alsace-Lorraine 1. 1900–1901, p. 237 u. 238; Seder thus characterized the Munich-born sculptor Adolf von Hildebrand (1847–1921) and at the same time paid tribute to his fountain sculpture Father Rhine , which has belonged to the state capital of Bavaria since 1929 through an exchange with an image; see the history of this fountain with illustrations and the barter of the Vater-Rhein-Brunnen .
  14. ^ Anton Seder: The Reinhardbrunnen in Strasbourg. In: The arts and crafts in Alsace-Lorraine. 1. 1900-1901, p. 237.
  15. ^ Anton Seder: The Reinhardbrunnen in Strasbourg. In: The arts and crafts in Alsace-Lorraine. 1. 1900-1901, p. 237 below and p. 238 above.
  16. ↑ Seder. In: Thieme / Becker: General Lexicon of Visual Artists from Antiquity to the Present. Volume 29/30, EA Seemann, Leipzig, ISBN 3-363-00729-9 , p. 422 (see also selected bibliography)
  17. ↑ Two-page foreword by Anton Seder to the applied arts sketchbook for the metal, glass and ceramics industry with “50 panels in colored collotype”, published by Julius Hoffmann, Stuttgart, 1899.
  18. ^ Foreword by Anton Seder to Applied Sketchbook … Stuttgart 1899.
  19. ↑ See e.g. B. his critical remarks on the Darmstadt exhibition by seven artists on the industrial design of residential buildings at the beginning of the 20th century: A Document of German Art. In: The arts and crafts in Alsace-Lorraine. 1. 1900-1901, pp. 237-252.
  20. ^ A document of German art. In: The arts and crafts in Alsace-Lorraine. 1. 1900-1901, p. 246.
  21. ↑ Information on the first draft in: Nobert Götz u. Clementine Schack-Simitzis (Ed.): The Prince Regent Time . Catalog of the exhibition in the Munich City Museum. (December 15, 1988 - April 16, 1989). 1988, ISBN 3-406-33397-4 , p. 306 under July 4, 1924.
  22. ↑ Fig. In: Festbuch zum I. Gesangwettstreit Deutscher Männergesangvereine… Verlag von Haasenstein & Vogler, Cassel 1899, p. 23; Details in the festival book for the 2nd singing competition … f. Haasenstein & Vogler Verlag, Frankfurt am Main 1903, p. 24; Front u. The reverse of the honorary challenge award is shown in: Official festival book for the IV. Competition ... The United Music and Press Committee, Frankfurt am Main 1913, opening credits before p. 2.
  23. ↑ Berthold Feige: 75 Years of the Berlin Teachers' Choral Society 1887–1962. Chapter: Foundation and Advancement. (unnumbered pages).
  24. ↑ Dust jacket for the magazine Das Kunstgewerbe in Alsace-Lorraine
  25. ↑ Fig. In The arts and crafts in Alsace-Lorraine. ( online ) and in the Bayer magazine. Kunstgewerbevereins 1894, plate 9, quoted from Michael Koch from the Patrimonia series. 81 (1994), ISSN  0941-7036 , p. 19.
  26. ↑ Fig. OB chain Wiesbaden (digitized version)
  27. ↑ Fig. 269 at Forrer: The Strasbourg historical jewelry exhibition from 1904. Gold with enamel and stones, the coat of arms of the Strasbourg University as a pendant
  28. ↑ Fig. Of the grid (digitized version)
  29. ↑ In the last, 1906 year of the magazine Das Kunstgewerbe in Alsace-Lorraine , the grid is shown together with the interlocking initials AS and the continuation of his surname, eder , which are linked to the year the design was created.
  30. ^ The applied arts in Alsace-Lorraine. 2.1901 / 02, p. 206 see fig. With caption; The candelabra is not yet set up in the picture on Gutenbergplatz, but is in front of the facade of the new Strasbourg School of Applied Arts, where the recesses for the Art Nouveau tile pictures to be inserted can already be seen below the upper row of windows.
  31. ↑ cf. RWS, abbreviation for Reinhard W. Sänger, in the caption for Fig. 111 Lantern on Gutenbergplatz, Strasbourg; In: Art Nouveau on the Upper Rhine. Art and life without limits. 2009, ISBN 978-3-7650-8510-9 , p. 159.
  32. ^ Postcards in color and in black and white from Verlag R. Springers Basar, from Georg Hofmann, Kunstverlag, Johannes Böhlk, Kunstverlag (postally unused), Strasbourg i. E., and Trinks & Co., Leipzig-St. No. 8 (used in 1907, 1911 and 1912; Schudi 45 collection) capture the three-armed Art Nouveau candelabra on Gutenbergplatz in Strasbourg.
  33. ↑ Helga Hollmann et al.: The early poster in Europe and the USA. Volume III: Germany. Part 1 text and part 2 panels. Gebr. Mann Verlag, Berlin 1980, ISBN 3-7861-1133-2 ; Lithographie A. Seder  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.gallerierouge.com  
  34. ↑ Theodor Heiden jun. lived in Strasbourg from 1853 to 1928 E. primarily in Munich, where he initially took over his father's workshop and in 1880 opened the atelier for arts and crafts in gold, silver and bronze ; see. Michael Koch in volume 81 (1994) of the Patrimonia series, ISSN  0941-7036 , p. 18.
  35. ↑ Inventory of the Bavarian National Museum in the object database with the illustration: Grail Castle, Grail Temple, Grail Bowl; Epoch: Classicism to Art Nouveau
  36. ↑ Michael Koch in volume 81 (1994) of the Patrimonia series . Bavarian National Museum, Munich Th. Heiden / A. Seder, centerpiece The Grail. ISSN  0941-7036 , p. 17.
  37. ↑ Michael Koch, Peter Weidisch: Theodor Heiden: royal Bavarian court goldsmith . Ed .: City of Bad Kissingen. Schöningh, Würzburg 1997, ISBN 3-87717-704-2 , p. 53 (Accompanying volume to the exhibition of the same name in Bad Kissingen, Altes Rathaus, September 19 to November 9, 1997; an exhibition by the City of Bad Kissingen in cooperation with the Bavarian National Museum. Fig. Catalog No. 10, Plate VIII; see Large Lid Cup in Germanic National Museum , lower row of pictures, 3rd picture from left).
  38. ↑ Hermann Schreiber: Strasbourg between the times, between the peoples. Gernsbach 2006, ISBN 3-938047-13-5 , p. 260.
  39. ↑ Honorary gift: (digitized version)
  40. ^ A b c Friedrich J. Ortwein: The Rappoltsteiniana created by artists in Rappoltstein Chronik 1905-2005. Cologne 2005, ISBN 3-930054-50-7 , p. 411 ff.
  41. ↑ Fig. "Rappolisweiler, Rappoltstein" (digitized version ) Format 87 × 66 cm
  42. ↑ Format 86 × 67 cm, Alsatica Portal de Savoir en Alsace; Alsatica ( Memento of the original from May 26, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.alsatica.eu
  43. ↑ Format 70 × 90 cm, illus. Metz in color
  44. ^ Georg Weick (Paschali): Local history of Alsace-Lorraine. Fifth edition. Edition B without explanatory comments. Zabern i. E. 1913, Fig. 29 Odilienberg, Fig. 33 Rappoltsweiler and Fig. 54 Metz.
  45. ^ Anton Seder: sewing machine embroidery. In: The arts and crafts in Alsace-Lorraine. Volume 4: 1903-1904. Pp. 125–128, here p. 125.
  46. ^ A b Anton Seder: sewing machine embroidery. In: The arts and crafts in Alsace-Lorraine. 4: 1903-1904. P. 126.
  47. ^ Anton Seder: sewing machine embroidery. In: The arts and crafts in Alsace-Lorraine. 4: 1903-1904. P. 126 f.
  48. ^ Friedrich Pecht: History of Munich art in the nineteenth century. Publishing house for art and science formerly Friedrich Bruckmann, Munich 1888, p. 447.
  49. ↑ It was about the Café Gassner. see. Friedrich Pecht: History of Art in the Nineteenth Century. 1888, p. 447.
  50. ^ Anton Seder: To the decorative paintings of the Strasbourg School of Applied Arts. In: The arts and crafts in Alsace-Lorraine. 3. 1902/03, p. 217.
  51. ^ The arts and crafts in Alsace-Lorraine. 3. 1902/03, p. 217.
  52. ^ The arts and crafts in Alsace-Lorraine. 3. 1902/03, p. 217.
  53. ^ Anton Seder: Naturalistic decoration paintings. Preface by Ernst Wasmuth. Ernst Wasmuth Verlag, Berlin 1897.
  54. ↑ z. B. at panel 39 “Passion flower” with Christ on the cross in the work The plant in art and trade. Vienna 1890; (Digitized UB Uni. Düsseldorf)
  55. ↑ See right medallion on the title page of the stylistic part of The Plant in Art and Crafts ; the left portrait shows the editor of the Tafelwerk Martin Gerlach , Vienna; (Digitized version)
  56. ^ Ernst Polaczek: Strasbourg. Publisher by EA Seemann, Leipzig 1926, p. 214.
  57. ↑ a b Ernst Polaczek: Strasbourg. 1926, p. 214.
  58. ↑ Company history Heiden, Munich ( Memento of the original from November 12, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / heiden.eu
  59. ↑ Michael Koch: Theodor Heiden Royal Bavarian Court Goldsmith. Würzburg 1997, ISBN 3-87717-704-2 , p. 32.
  60. ↑ The obverse shows a winged Victoria at the end of the chain, holding the laurel wreath to the viewer with her arms spread; Fig. In the festival book for the 2nd singing competition…. 1903, p. 24.
  61. ↑ See Plate 163 in The Plant in Arts and Crafts , Naturalistic Part; and cf. the subtitle of Anton Seder's table work, publisher: Gerlach & Schenk, Vienna 1886-90; The Bruckmann publishing house in Munich carried out the collotype of "Pl 163".
  62. ^ Hubertus Adam in Neue Zürcher Zeitung - NZZ - from June 6, 2009 Time of Awakening - Art Nouveau on the Upper Rhine
  63. ^ Anton Seder: Competition for shop window decoration in Strasbourg i. E. December 1903. In: The arts and crafts in Alsace-Lorraine. Volume 4: 1903-1904. Pp. 144-150.
  64. ^ Anton Seder: Shop window decoration ... In: The arts and crafts in Alsace-Lorraine. 4: 1903-1904. P. 144.
  65. ^ Anton Seder: Shop window decoration ... In: The arts and crafts in Alsace-Lorraine. 4: 1803-1904. P. 146.
  66. ^ Anton Seder: Shop window decoration ... In: The arts and crafts in Alsace-Lorraine. 4: 1903-1904. P. 146.
  67. ^ Anton Seder: Shop window decoration ... In: The arts and crafts in Alsace-Lorraine. 4: 1903-1904. P. 149.
  68. ^ Anton Seder: Shop window decoration ... In: The arts and crafts in Alsace-Lorraine. 4: 1903-1904. P. 148.
  69. ^ Anton Seder: Shop window decoration ... In: The arts and crafts in Alsace-Lorraine. 4: 1903-1904. P. 150.
  70. ↑ Source of the quote: Friedrich Schiller: Wilhelm Tell. IV. 2; designed by Anton Seder as an Art Nouveau inscription in a panel in the work he edited: Naturalistic decorative paintings . Berlin 1897.
  71. ^ Hans Dollinger : The Munich street names. Munich 2010, ISBN 978-3-517-08370-4 , p. 285.
  72. ^ Friedrich Pecht: History of Munich Art in the 19th Century. Munich 1888, p. 447. (digitized version )
  73. ↑ The building has housed the Historical Museum of the French city of Strasbourg since 1919; Building entrance of the former arts and crafts museum in the Grosse Metzig today
  74. ↑ See illustration and the accompanying caption Headmaster A. Seder in the second row when leaving the Kunstgewerbemuseum in Strasbourg. ( Memento of the original from May 10, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Wilhelm II stayed in Strasbourg on August 21, 1889 on the occasion of the "Imperial Parade" in Strasbourg. @1@ 2Template: Webachiv / IABot / www.deutschlanddokumente.de
  75. ^ Frank Derville: Art Nouveau around the world Strasbourg
  76. ↑ Fig. Painting and Antiquity
  77. ↑ Fig. Sculpture and doctrine of the properties u. Relationships between levels and spatial structure / geometry
  78. ↑ Fig. Architecture and Science
  79. ↑ Bayerischer Kunstgewerbe-Verein (ed.); Leopold Gmelin: The German applied arts at the time of the world exhibition in Chicago. Verlag von M. Schorß, Munich 1893, Tafel / Plate 25 Fig. Kirchenlüster (online edition)
  80. ^ Leopold Gmelin: The German applied arts at the time of the world exhibition in Chicago. 1893, p. 72ff.
  81. ^ Martin Gerlach publisher in Vienna
  82. ^ Leopold Gmelin: The German applied arts at the time of the world exhibition in Chicago. 1893, advertisement section p. 13.
  83. ^ Julius Euting: Description of the city of Strasbourg and the minster. Twelfth improved edition. Published by Karl J. Trübner, Strasbourg 1901.
personal data
SURNAME Seder, Anton
ALTERNATIVE NAMES Seder, Anton Johann Nepomuk (full name)
BRIEF DESCRIPTION Art professor and director of the Arts and Crafts School in Strasbourg
DATE OF BIRTH January 11, 1850
PLACE OF BIRTH Munich
DATE OF DEATH December 1, 1916
Place of death Strasbourg