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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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2017
Winterauktionen 25.–26.11.2022
Lenk, Franz
1898 Langenbernsdorf - 1968 Schwäbisch Hall.
«Lausa mit Kirche (Lausa with church)».
Oil on canvas, relined. Signed lower right and dated 1924. Verso a printed label of the Galerie von Abercron, Cologne, typographically inscribed with the work's data. Verso on the stretcher inscribed presumably by a different hand «15[…] Lausa bei Dresden (Lausa by Dresden)», «Zsch[…]» as well as numbered «50/1928» and «No 509.». Verso on the stretcher on two printed labels inscribed «A-24-1» and numbered «7» as well as remains of an old label.
H 99,
«[…] in the years up to and including 1931, a theme occurs again and again that is to be described here as ‹Landschaft aus nächster Distanz (landscape at close range)›. Standing directly against the sky, the houses are often depicted as several interlaced buildings. The trees surrounding them and the landscape visible behind them have the task of bringing the houses closer. Giving the pictures depth, the sky also serves the same purpose». from: Galerie von Abercron (Ed.), Franz Lenk
«I have a work in ink showing a drawing I made with devotion as a child of the village church. Even today I remember sitting on the edge of the field in the summer heat and watching the farmers walk from the valley to the field or along the village, while I struggled to depict the little church. Even now, while painting, I walk around in my scenery in my mind. I walk along the paths I paint. [...] That's what I want to paint! Not a copy, but life!» Franz Lenk, Was ich will, in: Die Kunst, vol. 1931, 1, p. 372ff., cited in: Galerie von Abercron, ibid. p. 8.
We would like to thank Mr Marco Zambon, Galerie von Abercron, Munich, for the kind remarks via
Provenance: purchased at Galerie von Abercron, Munich, in 1977; since then private collection Müllheim in the Markgräflerland.
Exhibitions: Aquarelle und Zeichnungen, Dresden, Kunstsalon Emil Richter, January - February 1926; Die Sieben von Barmen (Theo Champion, Adolf Dietrich, Hasso von Hugo, Franz Lenk, Alexander Kanoldt, Franz Radziwill, Georg Schrimpf), Bochum, Barmen, Cologne, Düsseldorf, Aachen, Krefeld, Mülheim a.d. Ruhr, 1932,
Catalogue raisonné: von Abercron A-24-1 (Arbeitsbuch 154).
Condition report 