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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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3226
Winterauktionen 20.–21.11.2020
Dutch master
17th/
Gentleman with pocket watch.
Oil on panel. Unsigned. Inscribed lower left «aetatis 1669». Losses. Restored.
H 47,
The elderly plainly dressed gentleman proudly presents his golden timepiece to us. Small, box-shaped watches that could be worn on the body were regarded as a desirable status symbol by bourgeois and noble collectors of the 
Niederländischer Meister
17./
Herr mit Taschenuhr.
Öl auf Holz. Unsign. U.l. bez. «aetatis 1669». Fehlstellen. Altrest.
H.
Unverkennbar stolz hält uns der ansonsten schlicht gekleidete ältere Herr seinen goldenen Zeitmesser entgegen. Kleine, dosenförmige, am Körper tragbare Uhren galten unter bürgerlichen und adligen Sammlern des 17. Jahrhunderts als erstrebenswertes Statussymbol. Um den Wohlstand einer Person zu demonstrieren, wurden kostspielige Accessoires wie diese oft in Porträts gezeigt.