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Professor Hermann Dischler
25th September 1866 – 20th March 1935
Hermann Dischler was born on the 25th of September in 1866 in Freiburg i.Br. He received his artistic training in the art school in Karlsruhe, he was student of Gustav Schönleber. Thereafter he was engaged as a painter in the Breisgau-Hochschwarzwald area.
1894, after he finished his studies, he built himself an artist’s workroom in Freiburg i.Br. At this time he went on a lot of trips and his trusty camera followed him everywhere. Five years later he started to number and comment his artworks, which he collected in 29 «Bildbüchern (books of pictures)».
In the winter months from 1905 to 1907 he stayed in the Todtnauer Hütte, where a lot of his oil studies arise.
The snowy winter landscapes became his typical theme and he called himself «Schneemoler (snowpainter)». 1917 he received his professorship by Grand Duke Friedrich II.
In 1927 he had an exhibition with artists like Curt Liebich, Julius Heffner, Wilhelm Nagel, Wilhelm Wickertsheimer a.o., they called themselves «Die Schwarzwälder (the Black Forests)». He died on the 20th of March in 1935 in Hinterzarten. Today his works are extremely appreciated because the snowy landscape present the untouched nature.
Lit: Exhibition Catalogue Augustiner Museum, Freiburg i.Br., 1993
Professor Hermann Dischler
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2144
Herbstauktionen 19.–20.10.2018
Hengstler, Romuald
1930 Deißlingen - 2003 ebd.
«20/78». Oil on panel. Dated «13.11.(19)77 Volkstrauertag» upper left as well as with an exact dated documentation of the particular phases of overpainting. Verso signed and titled. Paint loss, scratches.
H 46, W 48,8 cm. Unframed.
The continuously and repeated overpainting of his own works is characteristic of Hengstler's oeuvre. These single steps of overpainting are exactly and accurately documented most of the time on the verso of his paintings, making layers visible, which are normally escaping the eyes of the observer.
Provenance: estate Artur Stoll. 
1930 Deißlingen - 2003 ebd.
«20/78». Öl auf Holz. O.l. «13.11.(19)77 Volkstrauertag» dat. sowie mit einer genauen und exakt datierten Dokumentation der einzelnen Übermalungsphasen des Werkes. Verso sign. und bet. Farbfehlstellen, Kratzer.
H.
Charakteristisch für die Gemälde Hengstlers ist die stetige und wiederholte eigenhändige Übermalung seiner Werke. Dabei dokumentiert er meist auf der Rückseite der Gemälde jeden dieser Arbeitsschritte penibel und lässt dadurch auch Schichten sichtbar werden, die sich dem Auge des Betrachters entziehen.
Provenienz: Nachlass Artur Stoll.