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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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3120
Herbstauktionen
Große Bronzepfeife für den Kaiserhof
Large bronze pipe for Imperial Court. Cameroon Western Highlands. Dark patinated bronze. Verso on a label inventory number «125 IV 28». Signs of age. Metal stand.
Smoking pipes also had a ritual function. By blowing the smoke over the fields, one hoped to make the land fertile. One hint for this may be the phallic form of the cheek pouches of the figure.
Pipes of the higher social ranks, like local chiefs and members of the Royal family, had an anthropomorphic decoration.
Provenance: purchased before 1960; since then private collection Stuttgart.
Literature: Karl-Ferdinand Schädler, Afrikanische Kunst, München 1975, 
Kameruner Grasland. Bronze, dunkel patiniert. Über Pfeifenkorpus in Gestalt eines Männerkopfes, fein durchbrochen gearbeitetes Gefäß mit reliefierten Spinnen und vegetabilem Dekor. Mehrteiliger Balusterschaft. Verso Etikett mit Sammlungsinventarnr. «125 IV 28». Altersspuren.
L.
Das Pfeiferauchen hatte auch eine rituelle Bewandtnis. Indem man den Rauch über die Felder blies, hoffte man, das Land fruchtbar zu machen. Ein Hinweis hierauf findet sich in den phallisch anmutenden Wangentaschen der Figur.
Die Pfeifen der gesellschaftlich höhergestellten Personen, wie lokale Häuptlinge und Mitglieder der königlichen Familie, hatten, wie das vorliegende Beispiel, anthropomorphen Dekor.
Provenienz: erworben vor 1960; seitdem Privatsammlung Stuttgart.
Literatur: Karl-Ferdinand Schädler, Afrikanische Kunst, München 1975, S.