(Oberndorf 1891–1958 Kitzbühel) Akt liegend auf blauem Kissen (Nude seated on blue cushion), circa 1920/25, estate stamp and confirmation by Guta Berger, geb. Walde (on the reverse), oil and tempera on paper, 33.5 x 21 cm, framed Registered: Alfons-Walde-Archive Provenance: Estate of the artist Private Collection, Vienna “The female nude remained an important subject for the painter until the last years of his life. Precisely because of their intimate nature, these subjects are among the most artistically free creations, in which he was able to work without any commercial considerations. One can feel the joy and love, the inner commitment, the openness to things that directly touched him in his life’s intensity and inspired him to translate these experiences into painterly expressions.” Gert Ammann, Alfons Walde, 1993, p. 60
(Oberndorf 1891–1958 Kitzbühel) Porträt eines Mädchens mit roter Blume (Portrait of a girl with red flower) (Ida Rossipal), circa 1913, old artist label and two estate stamps with the confirmation of Guta Berger, geb. Walde (on the reverse), oil on cardboard, 29 x 25.5 cm, original Walde-frame Registered: Alfons-Walde-Archive Provenance: Estate of the artist Private Collection, Vienna (since the 1980s) On the reverse, confirmation from Berta Walde (sister of Alfons Walde) that the sitter is Ida Rossipal at the age of 18, painted in 1913. Walde knew Ida Rossipal from early youth who later became his third wife.
(Oberndorf 1891–1958 Kitzbühel) Sitzender Rückenakt (Seated nude from the back), circa 1913, estate stamp and confirmation by Guta Berger, geb. Walde (on the reverse), pastel crayon on grey paper, 48 x 32 cm, framed Registered: Alfons-Walde-Archive Provenance: Estate of the artist Private Collection, Vienna (since the 1980s)
(Oberndorf 1891–1958 Kitzbühel) „Rast” (Resting), 1930, signed A. Walde; titled and dated on old artist label (on the reverse), oil on cardboard, 32 x 29 cm, original Walde-frame Registered: Alfons-Walde-Archive Provenance: European Private Collection Around 1890, the Kitzbühel hotelier and ski pioneer Franz Reisch initiated the era of skiing in Kitzbühel. In addition to piste skiing and the first downhill races, ski touring in the open nature grew increasingly popular. This enthusiasm was also shared by the painter Alfons Walde, who soon became an excellent skier himself. As early as 1910, he painted his first ski scenes, introducing a new subject into art. In the late 1920s, his ski paintings gained rhythm and modeled color and form tones. Walde now proved himself to be “a creator who always captures the entire atmospheric situation and never isolates the athletes, but always integrates them into their action space.” The message is clearly formulated: the athletic person is an actor, in harmony with nature. Thus, the need for detailed depiction in painting was also eliminated; the event is seen and formulated holistically. Walde's ski paintings therefore remain relevant to this day with their intriguing depiction of sporty natural experiences that have lost none of their fascination. cf. Gert Ammann, Alfons Walde, 1993, p. 79 ff.
Mixed media with oil over pencil on wove paper, laid down on wove paper on one side. C. 11 x 14 cm. Signed with the artist's monogram "W" lower centre.
Alfons Walde Trattalmen c. 1932 oil on cardboard; framed 41 x 59 cm signed on the lower left: A. Walde original artists label with inscription and dedication by the hand of the artist on the reverse on cardboard:: "Trattalmen" / Meinem Freunde u. Helfer / A. Walde original frame direkt vom Künstler erhalten (dedication on artistlabel); since then in family property, private property, Austria
ALFONS WALDE (Oberndorf 1891–1958 Kitzbühl) Sonntag in Tirol. (Sunday in the Tyrol) Circa 1935–37. Oil on board. Signed lower right: A. Walde. Entitled verso on the artist's label: "Sonntag in Tirol". 60 × 41.7 cm. In original frame. Certificate: Prof. Dr Gert Ammann, Völs, 10.8.2024 (catalogue raisonné no. D-LA-912). Provenance: - With Galerie Del Vecchio, Leipzig, no. 8141 (label verso). - Private collection, Switzerland, acquired in the 1930s and thence in the family collection. Our thanks to Prof. Dr Gert Ammann for confirming the authenticity of this work. The lush green, the fresh white, the blooming red and the cloudless blue sky immediately awaken the desire and longing to immerse yourself in this Tyrolean mountain idyll: to walk around the village in traditional costume, to meet and linger like the locals. This expressive genre painting allows us to peek into the locality and everyday life of these rural people and yet preserves their privacy. Just as the title “Sunday in Tyrol” at once suggests, the painting radiates a certain calm and repose, detached from any sense of time, and almost lets us breathe in the pure mountain air. Walde’s thick, pastelike daubs of paint enhances the impression of a living and cheerful idyll, giving the painting a three-dimensionality and at the same time creating distinct accents through contrasting shades. The Walde picture frame complements his homeward-looking work and suggests his inner thoughts, as well as bringing out the luminosity of his composition (cf. lot 3238). ------------------------------------------------- ALFONS WALDE (Oberndorf 1891–1958 Kitzbühl) Sonntag in Tirol. Um 1935–37. Öl auf Karton. Unten rechts signiert: A. Walde. Verso auf dem Künstleretikett betitelt: "Sonntag in Tirol". 60 × 41,7 cm. Im Originalrahmen. Gutachten: Prof. Dr. Gert Ammann, Völs, 10.8.2024 (WVZ. Nr. D-LA-912). Provenienz: - Galerie Del Vecchio, Leipzig, Nr. 8141 (verso mit Etikett). - Privatbesitz Schweiz, in den 1930er–Jahren erworben und bis heute in Familienbesitz. Wir danken Prof. Dr. Gert Ammann für die Bestätigung der Authentizität des Werks. Das satte Grün, das frische Weiss, das blühende Rot und der wolkenlose, blaue Himmel erwecken sogleich den Wunsch und die Sehnsucht in dieses tirolische Bergidyll einzutauchen und wie die Einheimischen in Tracht im Dorfe zu spazieren, sich zu treffen und zu verweilen. Das expressive Genrebild erlaubt uns, in den Lebensraum und Alltag der bäuerlichen Menschen zu spähen und bewahrt dennoch deren Anonymität. Genau wie es der Titel "Sonntag in Tirol" bereits zusammenfasst, strahlt das Gemälde eine gewisse Ruhe und Erholung aus, losgelöst von jeglichem Zeitgefühl, und lässt uns fast schon die reine Höhenluft einatmen. Waldes pastoser Farbauftrag verstärkt den Eindruck des greifbaren und lebensfrohen Idylls, verleiht dem Gemälde eine Dreidimensionalität und setzt gleichzeitig Akzente, welche durch die kontrastreichen Schattierungen verdeutlicht werden. Der typische Walde-Rahmen unterstreicht sein heimatverbundenes Schaffen und hebt die Leuchtkraft der Komposition hervor (vgl. auch Los 3238).
ALFONS WALDE (Oberndorf 1891–1958 Kitzbühl) Einsamer Berghof. 1934. Oil on board. Signed lower right: A. Walde. Entitled and dated verso on the artist's label: "Einsamer Berghof" / 1934. 42.4 × 67.7 cm. In original frame. Certificate: Prof. Dr Gert Ammann, Völs, 10.8.2024 (catalogue raisonné no. D-LA-937). Provenance: Private collection, Switzerland, acquired in the 1930s directly from the artist and thence in the family collection. Our thanks to Prof. Dr Gert Ammann for confirming the authenticity of this work. The depiction of the wintery Tyrolean mountain landscape occupies a central place in Alfons Walde’s work. The “lonely mountain farm” is an important motif during the 1930s, which is also seen in the form of a colored postcard published by the artist. The imposing farmhouse with a brick dwelling and wooden threshing floor sits on a mountaintop. To the left below on the mountain slope is another wooden stable. In the background, the mountain range with rocky areas and snowy fields against a cloudless blue sky completes the scene. The woman with the child in the foreground catch the viewer’s attention. This addition of one or more figures to the previously deserted winter landscapes can be observed only in Walde’s work from the 1930s onwards and suggests that it is more than just staffage. In addition to the symbolism of the link between nature and man or the religious interpretation (mother with child), a temporal biographical reference may also be suggested. Walde’s second wife gave birth to a child in 1930. It is also fitting that in this picture of a mountain farm, winter already seems to be giving way to the beginnings of spring: the season of awakening and new life. The spring sun, coming in from the left, has already licked away the snow in some places. Stylistically, the scene is very beautiful, as the artist indicates the spring sun through strong contrasts of light and shadow. The darker blue shades of the rocks stand out from the lighter blue shades of the snowy fields. At the same time, the areas that are strongly lit by the sun are emphasized by the thick, pasty application of paint. Both of Walde’s works (see also lot 3241) are provided with the original artist's frames with the wide champfer. This type of frame, in which several pieces are glued together and the concave fillet is visible, was designed by Walde himself from 1923-25 and used primarily for his landscapes. ------------------------------------------------- ALFONS WALDE (Oberndorf 1891–1958 Kitzbühl) Einsamer Berghof. 1934. Öl auf Karton. Unten rechts signiert: A. Walde. Verso auf dem Künstleretikett betitelt und datiert: "Einsamer Berghof" / 1934. 42,4 × 67,7 cm. Im Originalrahmen. Gutachten: Prof. Dr. Gert Ammann, Völs, 10.8.2024 (WVZ. Nr. D-LA-937). Provenienz: Privatbesitz Schweiz, in den 1930er-Jahren direkt beim Künstler erworben und bis heute in Familienbesitz. Wir danken Prof. Dr. Gert Ammann für die Bestätigung der Authentizität des Werks. Die Darstellung der winterlichen Tiroler Berglandschaft nimmt im Schaffen von Alfons Walde einen vorherrschenden Platz ein. Dabei zählt der "Einsame Berghof" zu einem wichtigen Motiv der Dreissigerjahre, welches auch in Form einer farbigen Postkarte im Verlag des Künstlers seinen Niederschlag findet. Das imposante Bauernhaus mit gemauertem Wohnteil und hölzerner Tenne thront auf einer Bergkuppe. Links unterhalb am Bergabhang steht ein weiteres Stallgebäude aus Holz. Im Hintergrund schliesst der Gebirgszug mit felsigen Partien und Schneefeldern vor einem wolkenlosen blauen Himmel die Szenerie ab. Ein Blickfang stellt im Vordergrund die Frau mit dem Kind dar. Dieses Hinzufügen einer oder mehrerer Figuren in die bis anhin menschenlosen Winterlandschaften ist bei Walde erst ab den 30er-Jahren zu beobachten und legt den Schluss nahe, dass es sich dabei um mehr als nur Staffage handelt. Nebst der Symbolik der Verbindung von Natur und Mensch oder der Deutung im religiösen Sinne (Mutter mit Kind) kann auch ein biografischer Bezug hergestellt werden. Waldes zweite Frau gebar 1930 ein Kind. Passend dazu auch, dass in diesen Kompositionen der Berghöfe der Winter bereits den Anfängen des Frühlings zu weichen scheint: die Jahreszeit des Erwachens und neuen Lebens. Die von links einfallende Sonne des Frühjahrs hat bereits an einzelnen Stellen den Schnee weggeschmolzen. Durch das Stilmittel grosser Licht- und Schattenkontraste wird ebenfalls auf die Frühlingssonne angespielt. So heben sich die Schattenpassagen bei den Felsen durch dunkleres Blau von den in hellerem Blau gehaltenen Passagen der Schneefelder im Licht ab. Gleichzeitig werden die von der Sonne stark beleuchteten Partien durch den dicken pastosen Farbauftrag betont. Beide Werke von Walde (vgl. auch Los 3241) sind noch mit dem originalen Künstlerrahmen mit der breiten Hohlkehle versehen. Diese Art von Rahmen, bei der mehrere Stücke in sich verleimt sind und dabei die konkave Ausrundung sichtbar wird, konzipierte Walde ab 1923–25 selbst und verwendete sie vor allem für seine Landschaften.
Walde, Alfons (1891-1958) Autumn in Tyrol & mountain summer Two offset lithographs Autumn in Tyrol: 15,5 x 12,8 in / Mountain summer: 17 x 12,8 in “Autumn Summer” has slight traces of water and crease in the top center, outside the motif.
(Oberndorf 1891–1958 Kitzbühel) Akt mit roten Schuhen (Nude with red shoes), c. 1920, on the reverse twice estate-stamp and the notice “Geschenk (present) Berta Walde” (sister of the artist), oil and tempera on two sheets of paper glued together, on the back of one sheet an ornament study, dated Kitzbühel, 14. 3. 1912, on the second sheet a perspective drawing, 84 x 39.5 cm, framed Registered: Alfons-Walde-Archiv Provenance: Private Collection, Vienna
(Oberndorf 1891–1958 Kitzbühel) Fröhliche Skifahrerin (Joyful skier), estate-stamp on the reverse, confirmed by Guta E. Berger-Walde, mixed media on paper, 22 x 15.2 cm, framed Registered: Alfons-Walde-Archiv Provenance: Private Collection, Vienna
(Oberndorf 1891–1958 Kitzbühel) Wilder Kaiser mit Bauernhof im Winter (Wilder Kaiser with farmhouse in winter), c. 1924, signed A. Walde, on the reverse Alfons-Walde-label, tempera and oil on paper on cardboard, 45 x 57.3 cm, framed Registered: Alfons-Walde-Archiv Provenance: Private Collection, Czech Republic Winter scenes were not an invention of Walde, but he gave them a new significance. (Ammann, 2001, p. 84) As a keen observer, Walde had a special eye for the distinctive physiognomy of the various mountain formations in his Kitzbühel homeland, particularly for the striking silhouette of the Wilder Kaiser. His vantage points are always carefully chosen to capture the motif effectively, while he plays with perspectives, proximity and distance, and color values, which he knows how to subtly and deliberately enhance—like his fantastical whites of snow that fascinate in each work. In this way, Walde creates a painterly equivalent to the beauty of nature.
(Oberndorf 1891–1958 Kitzbühel) “Herbstmarkt in Tirol” (Autumn market in Tyrol), signed and dated ALFONS WALDE 1913, titled on the stretcher with the addition “unvollendet” (unfinished), oil on canvas, 90 x 101 cm, framed Registered: Alfons-Walde-Archiv Provenance: Galerie Würthle, Vienna (1981) Private Collection, Vienna Literature: Gert Ammann, Alfons Walde. 1891–1958, Tyrolia Verlag, 1981, p. 27, ill. Gert Ammann, Alfons Walde. 1891–1958, exh. cat. Tulln and Kitzbühel, 7 April – 14 July 2001, ill. p. 35 (titled “Jahrmarkt”) “Framed by the tall and powerful backdrop of the main square, the view from a high vantage point looks into the bustle and activity of the market. High above the crowd, the tightrope walker Strohschneider dares to step onto the rope, while below, the swirling life unfolds between the stalls and market stands: memories of his childhood. Color spots alongside color dabs spread the motif into anonymity: an impression in the Impressionistic sense, paired with decorative ornamentation and a graphically structured brushwork.” (Ammann, 2001, p. 31) Der Herbstmarkt (The Autumn market) in Kitzbühel from 1913 is one of the largest-scale paintings from Alfons Walde's early creative period. The artistic influences he absorbed during his studies in Vienna – from the works of Gustav Klimt, the Secessionists, and his friendship with Egon Schiele – are skillfully reinterpreted here into an independent depiction of the rural life around Kitzbühel, so rich in motifs. With remarkable self-assurance, the young painter presents himself as a “painter of the tangible and of realistic emotion” and commits himself to an art of “universal everydayness.” (cf. and quoted from: Ammann, 2001, pp. 30, 31)
Walde, Alfons (1891-1958) Bergsommer, hochwertiger Offset-Druck. Im Hintergrund ein verschneiter Berg, während im Dorf geschäftiges Treiben herrscht. Links unten im Druck signiert, vom Rahmen abgeschnitten. Druck 37 x 26 cm, Rahmen 42 x 32 cm. Ein Künstler-Druck des bekannten österreichischen Künstlers. Standort: Konstanz Walde, Alfons (1891-1958) Mountain Summer, high-quality offset print. A snow-covered mountain in the background, while the village is bustling with activity. Signed lower left in the print, cut off from the frame. Print 37 x 26 cm, frame 42 x 32 cm. An artist's print by the well-known Austrian artist. (1891-1958) Mountain Summer, high-quality offset print. A snow-covered mountain in the background, while the village is bustling with activity. Signed lower left in the print, cut off from the frame. Print 37 x 26 cm, frame 42 x 32 cm. An artist's print by the well-known Austrian artist. Location: ConstanceMountain Summer, high-quality offset print. A snow-covered mountain in the background, while the village is bustling with activity. Signed lower left in the print, cut off from the frame. Print 37 x 26 cm, frame 42 x 32 cm. An artist's print by the well-known Austrian artist. Location: Constance
ALFONS WALDE (1891-1958). Kirchstiege. tempera and pencil on paper on the artist's mount sheet: 9 7⁄8 x 10 ½ in. (22.5 x 26.6 cm.) artist's mount: 11 ¾ x 13 1⁄8 in. (30 x 33.3 cm.).
Alfons Walde, 1891 Oberndorf – 1958 Kitzbühel Alfons Walde, 1891 Oberndorf – 1958 Kitzbühel Alfons Walde, 1891 Oberndorf – 1958 Kitzbühel KAPELLE IM GRÜNEN (CHAPEL IN THE GREEN) Mixed media (watercolour, coloured crayon, pencil) on paper. 29 x 42.5 cm. Woodcut label Alfons Walde on the back, stamped estate label on frame: “AUS DEM NACHLASS VON PROF. A.Walde, KITZBÜHEL”. Accompanied by an expert’s report by Verena Gschnitzer Konzert, MA, with catalogue raisonné no. D-LA-822, Innsbruck, 13 June 2023, and a report by expert Peter Kovacek, MA, Vienna, April 1994, Dimensions 29 x 42 cm , Mixed media (watercolour, coloured crayon, pencil) on paper
Walde, Alfons (1891-1958) Bergsommer, hochwertiger Offset-Druck. Im Hintergrund ein verschneiter Berg, während im Dorf geschäftiges Treiben herrscht. Links unten im Druck signiert, vom Rahmen abgeschnitten. Druck 37 x 26 cm, Rahmen 42 x 32 cm. Ein Künstler-Druck des bekannten österreichischen Künstlers. Standort: Konstanz Walde, Alfons (1891-1958) Mountain Summer, high-quality offset print. A snow-covered mountain in the background, while the village is bustling with activity. Signed lower left in the print, cut off from the frame. Print 37 x 26 cm, frame 42 x 32 cm. An artist's print by the well-known Austrian artist. (1891-1958) Mountain Summer, high-quality offset print. A snow-covered mountain in the background, while the village is bustling with activity. Signed lower left in the print, cut off from the frame. Print 37 x 26 cm, frame 42 x 32 cm. An artist's print by the well-known Austrian artist. Location: ConstanceMountain Summer, high-quality offset print. A snow-covered mountain in the background, while the village is bustling with activity. Signed lower left in the print, cut off from the frame. Print 37 x 26 cm, frame 42 x 32 cm. An artist's print by the well-known Austrian artist. Location: Constance
Walde, Alfons - Chapel in the green (Oberndorf 1891-1958 Kitzbühel) Mixed media (watercolour, coloured chalk, pencil) on paper. Verso label with artist's name ''Alfons Walde / Kitzbühel - Tirol - Austria'', on stretcher label with stamp ''Aus dem Nachlass von Prof. A. Walde, Kitzbühel''. 29 x 42.5 cm; framed under glass - Thieme/Becker 35, Vollmer 5 - Current expertise by Verena Gschnitzer Konzert, Innsbruck, available; catalogue raisonné no. D-LA-822. // Walde, Alfons Kapelle im Grünen (Oberndorf 1891-1958 Kitzbühel) Mischtechnik (Aquarell, Farbkreide, Bleistift) auf Papier. Verso Etikett mit Künstlernamen ''Alfons Walde / Kitzbühel - Tirol - Austria'', auf dem Keilrahmen Aufkleber mit Stempel ''Aus dem Nachlass von Prof. A. Walde, Kitzbühel''. 29 x 42,5 cm; unter Glas ger. - Lit. Thieme/Becker 35, Vollmer 5. - Aktuelles Gutachten Mag. Verena Gschnitzer Konzert, Innsbruck, vorhanden; Werkverzeichnisnummer D-LA-822.
Alfons Walde Tiroler Bergweiler 1934 oil on cardboard; framed 48,5 x 69.5 cm signed on the lower right: A. Walde original artist label with title and date on the reverse on the cardboard private property, Austria; Auktionshaus im Kinsky, 17.06.2019, no. 450; private property, Tyrol
Alfons Walde Häuser im Gebirge 1935 oil on cardboard; framed 33.5 x 53 cm signed on the lower right: A. Walde original artist label with title and date on the reverse of the cardboard original frame private property, Italy
Winter in Tirol / Bergwinter, um 1940;2 Offsetdrucke, je ca. 34 x 30 cm (Darstellung) Ein Blatt rückseitig mit dem Vermerk "Kunstverlag A. Walde / Kitzbühel, Tirol"
(Oberndorf 1891–1958 Kitzbühel) “Hof am Kaisergebirge” (Farmhouse in the Kaisergebirge), 1936, signed A. Walde, on the reverse on the original artist’s label, signed, dated and titled A. Walde 1936, oil on cardboard, 49.2 x 69.7 cm, in original Walde-frame Registered: Alfons Walde Archive Provenance: Private Collection, Kitzbühel “Alfons Walde was the designer of a still unspoiled nature, an unmanipulated image of man a still intact landscape and living space. It may be striking for Walde's character how much he always clung to his sphere of life and never sought to leave it. In doing so, he succeeded in raising awareness of the living situation far from the big city and in making a contribution to self-discovery that is relevant again today.” Gerd Ammann, Alfons Walde, Innsbruck 2001 The magnificent backdrop of the Wilder Kaiser with its striking mountain silhouette is one of the unmistakable painterly motifs in Alfons Walde's work, but as always with him, it is more of a topos, an image brand, than a specific geographical location. It is the typical, the unique idea that is associated with the terms "mountain and farm and idyll" that Walde knows how to convey in large forms. Added to this is the harmony of the colors with the wonderful shades of gray and brown, attractively accentuated by the white of the farmwalls and the red of the flowers.
(Oberndorf 1891–1958 Kitzbühel) “Wirtshaus in Tirol” (Tyrolean Inn), c. 1922, later signed A. Walde, on the reverse estate stamp and written confirmation by Guta E. Berger, nee Walde, oil on cardboard, 54.5 x 60 cm, framed Registered: Archive Alfons Walde Provenance: Sale, Wiener Kunst Auktionen, Vienna, 1 October 1996, lot 153 Private Collection, Austria “All emphasize is placed on making the outline as expressive as possible and to show with pure, raw, unmodulated colors the picture as original in its effects as these people in life.” Heinrich Hammer, 1921, cited in Amman, 2001, p. 56 Alfons Walde, who chose to live in Kitzbühel rather than Vienna after the war, drew his artistic inspiration from the familiar surroundings of the mountains and a strong, vibrant folk culture. In the early 1920s, genre scenes dominated, which he took from everyday village life, but gave them a timelessly valid expression with his own pictorial language that emphasized the large form. A strikingly modeling brushstroke determines this entertaining scene of peasants in the pub, who await the cool beer with palpable joy. A lively rhythm of green, red and white tones underlines the cheerfulness of the scene and lends the almost archaic, monumental depiction a humorously decorative note.
(Oberndorf 1891–1958 Kitzbühel) “Einsame Hausung“ (Lonely dwelling), 1934, signed A. Walde, oil on cardboard laid on board, 59 x 42 cm, in original Walde frame Registered: Archive Alfons Walde Provenance: Private Collection, Graz Private Collection, Styria (acquired from the above in the 1960s) by descent to the present owner “Only nature remains as a model” Alfons Walde 1925 This large-format version of the rare motif of the “Einsame Hausung” (Lonely dwelling) from the mid-1930s captivates above all with the density of the impasto color modulations and the force of the tectonic paint application. At the same time, the painterly execution emphasizes the theme of the lonely farmhouse set against the steep face of a nearby mountain, the drama of which is heightened by the extreme close-up view of the composition. As is typical for Walde, the red splashes of color in the balcony flowers and the staffage figure of the mother and child add a narrative but also rhythmically pulsating component (cf. Gert Ammann, 1976, S. 16).
(Oberndorf 1891–1958 Kitzbühel) “Winter-Sonntag in Tirol” (in the background the Wilder Kaiser), signed A. Walde, on the reverse on the original artist’s label titled Winter-Sonntag in Tirol as well as signed and dated A. Walde 1955, oil on cardboard, 25 x 34 cm, original Walde frame Registered: Archive Alfons Walde Provenance: Private Collection, Lower Austria In the late Twenties and Thirties, the paintings “Holzknechte” (1926/27), “Frühling in Tirol” (1928), “Einsame Hausung” (circa 1930), “Almen und Firn” (1933), and “Bergweiler (Weiler in Tirol)” (1935) represented the impasto-painted conception of village and alpine ambience. The titles of these works are now directly associated with the term ‘Tyrol’. Soft hilltops and hollows stand in contrast to rocky, rugged mountain backdrops... It is only in the later village views that the scenery is assembled like a stage set, with no reference to reality, in which people perform the role of extras. And yet these subjects reflect the elemental power of new motifs... Strong demand led to repetition. The motifs were created with slight variations, but always showed his mastery of painting technique and colour... Gert Ammann from: Der populäre Walde, exh. cat. Alfons Walde, Leopold Museum, 2006
(Oberndorf 1891–1958 Kitzbühel) “Zum Skilauf” (Going to ski), 1923, signed A. Walde, on the reverse estate stamp, pencil on paper, image size 24.5 x 23.5 cm, sheet size 38.2 x 29.5 cm, framed Registered: Archive Alfons Walde
Alfons Walde, 1891 Oberndorf – 1958 Kitzbühel Alfons Walde, 1891 Oberndorf – 1958 Kitzbühel KAPELLE IM GRÜNEN (CHAPEL IN THE GREEN) Mixed media (watercolour, coloured crayon, pencil) on paper. 29 x 42.5 cm. Woodcut label Alfons Walde on the back, stamped estate label on frame: “AUS DEM NACHLASS VON PROF. A.Walde, KITZBÜHEL”. Accompanied by an expert’s report by Verena Gschnitzer Konzert, MA, with catalogue raisonné no. D-LA-822, Innsbruck, 13 June 2023, and a report by expert Peter Kovacek, MA, Vienna, April 1994, Dimensions 29 x 42 cm , Mixed media (watercolour, coloured crayon, pencil) on paper
Oil on canvas painting by Alfons Walde, 1891 to 1958, an Austrian Expressionist artist. The artwork depicts a landscape view of a village in the Alps during winter. Impasto technique. Titled Tiroler Bergdorf, Auracher Kirche, Tyrolean mountain village, Aurach Church. Signed by the artist in the lower left. Ca. 1940s. Wooden frame. A version of this artwork was sold at Im Kinsky auction, November 2015. The catalogue is not included. Collectible Mid Century Modernist Fine Art, Landscape.
Alfons Walde 1891 Oberndorf - 1958 Kitzbühel Eroticism. Circa 1925 Glued paper label with red frame without print or inscription, painted with brush strokes in black verso. Oil / tempera auf brown cardboard. 22 x 18.2 cm. Framed (41 x 37 cm). "Das Motiv zeigt in Halbfigur eine nackte Frau nach links gewandt. Ihr Antlitz blickt nach rechts über ihre linke Schulter. Vor den Körper hält sie mit ihrer Linken einen schwarzen Pelz, eine schwarze Pelzstola umhüllt ihren Hals. Der Körper der Frau wird aus dem Dunkel des Raumes in ein melodiöses Licht gesetzt. Lichthöhungen an der Hüfte und Schulter sowie auf der Wange sind raffinierte Lichtpositionen. (...) Das Thema "Erotik" ist ein im Oeuvre Waldes zentrales Motiv: das volle Gesicht seiner ersten Frau Hilda Lackner mit dem geöffneten Mund, den weißen Zähnen und den sinnlichen roten Lippen. Damit erschließt Walde eine private intime Szene mit weiblichen Akten, welche im Kunsthandel zunehmend großes Interesse erfahren. Das vorliegende Gemälde reiht sich aufgrund der melodiösen Lichtstimmung und der wirkungsvollen Gestik harmonisch in diese Serie von sensibel gemalten Sujets zum Thema "Erotik" aus den Jahren um 1925 ein." (Prof. Gert Ammann) Werkverzeichnis: Das Gemälde wird mit der Nummer D-KÖ-237 in das in Vorbereitung befindliche Werkverzeichnis aufgenommen Eine Expertise von Prof. Gert Ammann vom 08.11.2005 liegt vor provenance: private collection, Austria Cf. Erotik, circa 1925, oil on cardboard, 26 x 21 cm, inscribed "A. Walde" upper right. Private owner, Innsbruck, illustrated in: Gert Ammann, Alfons Walde, Innsbruck-Vienna-Munich 1981, page 198 We would like to thank Prof. Gert Ammann for his friendly support during the scientific work
ALFONS WALDE (Oberndorf 1891–1958 Kitzbühl) Skifahrer bei der Alm. (skier in the Alps) 1933. Oil on board. Signed lower right: A. Walde. Signed, inscribed and dated verso on a label: "Skifahrer bei der Alm" / Alfons / Walde / Kitzbühel, Tirol, Austria / 1933. 42 × 59 cm. Our thanks to Prof. Dr Gert Ammann for confirming the authenticity of this work. Certificate: Prof. Dr Gert Ammann, Völs, 11.10.2023 (no. D-LA-797). Provenance: - Private collection, Germany. - Sale Dorotheum, Vienna, 29.11.2005, Lot 142. - Private collection, Switzerland, acquired at the above auction. Alfons Walde was born with a love for the snow-covered Tyrolean Alps and Kitzbühel. He was born in Tyrol and the Walde family moved to Kitzbühel at an early age. Walde was always very interested in Kitzbühel tourism and actively helped promote it. As a passionate skier and mountain guide, he knew the mountains and the Tyrolean landscape very well. Due to his original training as an architect, he also had a particular preference for compact forms, which was reflected in his painting. As early as the 1920s, Walde established himself as a renowned "mountain painter" and was able to acquire effortlessly new commissions from art lovers and collectors, who generally asked for typical Tyrolean mountain motifs. Thanks to his advertising posters, which were at the forefront of the Tyrolean tourism industry, and a unique contract with a postcard company, he was extremely popular in the 1920s, which even enabled him to build his own house on the Hahnenkamm. In the 1930s, however, the economic crisis also affected tourism in Tyrol. In addition to the decline in tourists for economic reasons, the year 1930 also brought a change in the artist's personal life. His marriage ended in divorce in 1929, and in 1930 he married Lilly Walter. Their daughter Guta Eva was born in the same year. This was a profound new beginning at a time of great global uncertainty. Nevertheless, Walde was not deterred. Even during this time of upheaval, he repeatedly returned to successful subjects of earlier years and created numerous paintings with almost identical compositions. From 1930 onwards, a new element emerged in his series of lonely mountain farms. He filled his otherwise typically deserted winter landscapes with farmers, touring skiers and the classic subject of mother and child. Alfons Walde's paintings from this period are not only impressive depictions of the Tyrolean Alps, but also profound reflections on the intimate connection between humans and nature. They tell stories of hard work in the mountains, of adventures in the snow and of the tender bond between parents and children. Ultimately, the fact that he repeatedly painted the same subject is understandable in a time of political and economic crises: Alfons Walde, the "mountain man," did not strive for change and upheaval, but found peace and reassurance in constancy. --------------- ALFONS WALDE (Oberndorf 1891–1958 Kitzbühl) Skifahrer bei der Alm. 1933. Öl auf Karton. Unten rechts signiert: A. Walde. Verso auf einem Zettel signiert, bezeichnet und datiert: "Skifahrer bei der Alm" / Alfons / Walde / Kitzbühel, Tirol, Austria / 1933. 42 × 59 cm. Wir danken Prof. Dr. Gert Ammann für die Bestätigung der Authentiziät des Werks. Gutachten: Prof. Dr. Gert Ammann, Völs, 11.10.2023 (Nr. D-LA-797). Provenienz: - Privatsammlung Deutschland. - Auktion Dorotheum, Wien, 29.11.2005, Los 142. - Privatsammlung Schweiz, an obiger Auktion erworben. Die Liebe zu den verschneiten Tiroler Alpen und zu Kitzbühel wird Alfons Walde bereits in die Wiege gelegt. Im Tirol geboren, siedelt die Familie Walde schon früh nach Kitzbühel um. Walde ist stets stark am Kitzbüheler Tourismus interessiert und hilft aktiv bei dessen Förderung mit. Als passionierter Skifahrer und Bergführer kennt er die Berge und die Landschaft Tirols bestens. Durch seine ursprüngliche Architekturausbildung hat er zudem eine besondere Vorliebe für kompakte Formen, die sich auch in seiner Malerei widerspiegeln. Bereits in den 1920er-Jahren etabliert sich Walde als renommierter "Bergmaler" und kann mühelos neue Aufträge von Kunstliebhabern und Sammlern akquirieren, die in der Regel nach typischen Bergmotiven Tirols verlangen. Dank seiner Werbeplakate, die zum Aushängeschild der Tiroler Tourismusbranche werden, und eines einzigartigen Vertrags mit einer Postkartenfirma, ist er in den 1920er-Jahren äusserst beliebt, was ihm sogar den Bau seines eigenen Hauses am Hahnenkamm ermöglicht. In den 1930er-Jahren erreicht jedoch die Wirtschaftskrise auch den Tourismus im Tirol. Neben dem Rückgang der Touristen aus wirtschaftlichen Gründen bringt das Jahr 1930 zudem eine Wende im persönlichen Leben des Künstlers. Seine Ehe wird 1929 geschieden, bereits 1930 heiratet er Lilly Walter. Im selben Jahr wird ihre Tochter Guta Eva geboren. Dies bedeutet ein tiefgreifender Neuanfang in einer Zeit grosser weltlicher Unsicherheit. Dennoch lässt sich Walde nicht beirren. Gerade in dieser Umbruchszeit greift er immer wieder auf erfolgreiche Bildmotive aus früheren Jahren zurück und schafft zahlreiche nahezu identisch komponierte Gemälde. Ab 1930 erhält seine Serie von einsamen Berghöfen eine neue Komponente. Er füllt seine ansonsten typischerweise menschenleeren Winterlandschaften mit Bauern, Tourenskifahrern und dem klassischen Bildmotiv von Mutter und Kind. Die Gemälde von Alfons Walde aus dieser Zeit sind nicht nur beeindruckende Darstellungen der Tiroler Alpen, sondern auch tiefgründige Reflexionen über die innige Verbindung zwischen Mensch und Natur. Sie erzählen Geschichten von harter Arbeit in den Bergen, von Abenteuern im Schnee und von der zarten Verbundenheit zwischen Eltern und Kindern. Schliesslich ist die Tatsache, dass er immer wieder dasselbe Motiv malerisch umsetzt, in einer Zeit politischer und wirtschaftlicher Krisen verständlich: Alfons Walde, der "Bergler", strebt nicht nach Veränderung und Umbruch, sondern findet Ruhe und Bestätigung in der Konstanz. ---------------
(Oberndorf 1891–1958 Kitzbühel) “Begegnung”, c. 1925, signed A. Walde, on the reverse the original artist’s label, oil on paper, (?) on wood, 23.1 x 24.5 cm, framed Registered: Alfons Walde Archive Examination report (Email) from: O. Univ. Prof. Dr. Manfred Schreiner, Vienna July 2023 Provenance: Antiquités Galitch, Vevey, Switzerland acquired c. 20 years ago Private Collection, Switzerland
(Oberndorf 1891–1958 Kitzbühel) “Handgranatenwerfer”, 1919, signed Alf. Walde, oil-tempera on cardboard, 70 x 68 cm, framed Registered: Alfons Walde Archive, no. D-GW-318 Full page color illustration in: Gert Ammann, Alfons Walde, Tyrolia-Verlag, 2001, p. 212 Exhibited and published in: Egger-Lienz/Walde/Berg. Über das Land, 3 Ausstellungen/3 Maler/ 3 Orte, Museum der Stadt Lienz Schloss Bruck, Museum Kitzbühel, Sammlung Walde, Werner Berg Museum Bleiburg/Pliberk, Himmer Verlag 2012, p. 42 and full page ill. p. 212 Provenance: Private Collection, Kitzbühel, formerly on loan to the Museum Kitzbühel Dorotheum, Vienna, 26 November 2009, lot 501 Private Collection, Vienna Dorotheum, Vienna, 15 March 2018, lot 47 Private Collection, Vienna The hand grenade thrower shows the degree to which Walde adhered to reality in his painting motifs: it was less the aggression that fascinated Walde, but rather the bodily representation of tension in the same vein as Ferdinand Hodler's tree feller. Walde used the photo (Ammann 2001, p. 42) as a direct model, correcting the more exact representation concealed behind the head. It is embedded in an almost cubistically structured background... Gert Ammann, in: Walde 2001
(Oberndorf 1891–1958 Kitzbühel) “Rast am Pengelstein”, c. 1930, signed A. Walde, in the lower left corner numbered Ia, mixed media with tempera on paper, image size 10 x 10 cm, sheet size 16 x 13 cm, framed Registered: Alfons Walde Archive Kitzbühel is one of the birthplaces of skiing in Austria, along with Mürzzuschlag, Lilienfeld and Arlberg. Franz Reisch pioneered Kitzbühel tourism with his first ski trip in 1892, and the first winter guests arrived from England, Vienna and Munich in 1897. Kitzbühel became the El Dorado of winter sports and high society. Walde experienced this rise in tourism from his youth onwards. Gert Ammann, in: Alfons Walde, catalogue, Leopold Museum, Vienna 2006
(Oberndorf 1891–1958 Kitzbühel) “Kirchgang”, 1935, signed A. Walde, on the reverse titled and dated in the artist’s handwriting on the original artist’s label, oil on cardboard, 40 x 37 cm, in original Walde-frame Provenance: Private Collection, Südtirol/South Tyrol Registered: Alfons Walde Archive Winter in Tirol, Bauersfrauen am Weg or Kirchgang are the various titles Alfons Walde used for this popular image. The small village of Aurach once again forms the picturesque stage, only the striking parish church is moved to the background, while the conversation of two peasant women in festive Sunday costume becomes the main motif. Rarely, however, has Walde painted the motif in this large format. It also fascinates with the strikingly experimental ductus, which alternates between vehemently applied, impasto accents and almost watercolor-like passages. The bright colours of the aprons in complementary blue and red framed by the special white of the Walde-snow captivate the eye and thematically set the dynamic rhythm of the painting. Ingeniously, the artist creates a tension between the static nature of the figures and buildings and the moving spatial composition, which is also given a playful touch in the undulation of the signature.
(Oberndorf 1891–1958 Kitzbühel) “Almen und Gletscher”, signed A. Walde, on the reverse on the original artist’s label signed A. Walde, titled and dated in the artist’s handwriting Almen und Gletscher 1947, oil on cardboard, 42.5 x 67 cm, in original Walde-frame Registered: Alfons Walde Archive The offered lot is the only known version of Almen und Gletscher with a figure (a mountaineer or alpine shepherd) in the foreground. Compare: Alfons Walde, exhibition catalogue, Leopold Museum, 2006, p. 118 Provenance: Private Collection, Kitzbühel In the late twenties and thirties, the paintings Holzknechte (1926/27), Frühling in Tirol (1928), Einsame Hausung (around 1930), Almen und Firn (1933) and Bergweiler (Weiler in Tirol) (1935) showed the village and alpine ambience in impasto-painted concepts. The titles of these works are now directly associated with the term ‘Tyrol’. Soft hilltops and hollows stand in contrast to rocky, rugged mountain backdrops. It is only in the later village views that the scenery is assembled like a stage set, with no reference to reality, in which people perform the role of extras. And yet these subjects reflect the elemental power of new motifs. The later thirties were marked by personal crises. Tourism stagnated and robbed Kitzbühel of its flair. The international guests, Walde’s customers, stayed away. His house was searched by the Gestapo several times in 1938. Walde was by now a well-known and internationally respected painter. His work was reproduced though his publishing house. The "Tyrolean Mountain Village*", the Auracher Kirchl, was distributed as colour postcards and art prints in large quantities. The prints underlined the popularity of his art and strong demand led to reproductions. The motifs were created with slight variations, but always showed his mastery of painting technique and colour... (Gert Ammann – from the aforementioned catalogue)
(Oberndorf 1891–1958 Kitzbühel) “Tiroler Bergdorf” (Auracher Kirchl), 1947, signed A. Walde, on the reverse titled, signed and dated on original artist’s label A. Walde 1947, oil on cardboard, 39 x 29 cm, in original Walde-frame Provenance: Christie’s London, 7. 10. 1999, lot 33 Peter Kovacek, Fine Art, Vienna (2000, including an expertise) Collection of Otto Glaser (1926–2017), Dublin (purchased by the above) Private Collection, Ireland (by descent from the above) Registered: Alfons Walde Archive Like no other painter of his generation, Alfons Walde introduced the idea of reproduction as a means of unmistakable branding into modern art as early as the 1920s. When in 1924 he won the competition for the design of an advertising poster for Tyrol with the motif of the charming church of St. Rupert in the small village of Aurach near Kitzbühel, he at the same time created an incunabulum for modern landscape painting in Tyrol. Focusing on essential pictorial motifs – snow, blue sky, picturesque Baroque onion dome and Tyroleans in traditional costume – and with an unmistakable impasto and dynamic painting gesture, Alfons Walde not only shaped the "brand" of Tyrol as a place of longing that is still valid today, but also consciously elevated the reproduction of a motif to an artistic statement – similar to what the artists of Pop Art were to cultivate decades later. It is therefore not surprising that the motif of the lovely church of Aurach in this particularly color-intensive and balanced impasto version had been in the collection of Otto Glaser, the Irish telecom pioneer with Austrian roots. Having arrived in Ireland in 1938 on the last children transport Otto Glaser was to become a successful entrepreneur who spent many of his summers in Tyrol and acquired paintings in the local art trade, which reminded him of his old homeland. Alfons Walde's Tyrolean Mountain Village occupied a special place in his house overlooking the sea. Other works form his collection in this sale include cat. nos. 15 and 16.
Alfons Walde Tiroler Winter 1945 oil on cardboard; framed 26.5 x 23 cm signed on the lower left: A. Walde original artist's label with his own handwritten inscription on the reverse: Tiroler Winter / 1945 A. Walde original frame Galerie Salis, Salzburg; private property, Austria
Alfons Walde Am Kirchweg c. 1922 oil on cardboard; framed 31.5 x 26.5 cm signed on the lower left: A. Walde artist's label on the reverse on the back board probably acquired directly from the artist by the grandmother of the present owner; since then family property, Tyrol and Vienna It is said in Tyrol that the people of the Tyrolean Unterland are particularly open and sociable in contrast to people of other regions, and Alfons Walde, who was completely focused on his home region of Kitzbühel, seems to more than confirm this, as the "Begegnung" ("Encounter") is one of his favourite motifs. From the very beginning, the artist devoted himself to portraying many different kinds of encounters – whether in twos or threes, with an oncoming farmer or with an imperial hunter, in front of the "Auracher Kirchl" in a Tyrolean mountain village, or on a Kitzbühel street. In this painting, which is particularly charming from a pictorial point of view, two farm women pause briefly "Am Kirchweg" ("On the path to the church") to exchange their news – probably something amusing, as indicated by the laughing expression of the woman on the left. With their picturesque traditional costumes, the bright red of one of the peasant women’s cloaks and their black hats complete with decorative ribbons, they make an extremely effective picture – especially, of course, as Walde has placed them in a magnificent late-winter landscape. It must have snowed only recently, for the snow still seems quite loose and the sun shining on it really makes it glow, spread in diffused shades of white, purple, violet and blue. Although influenced by Egger-Lienz in his expressively condensed pictorial language, Walde sets himself radically apart from the latter’s fateful, dramatic scenes: as Rudolf Leopold sums it up, "with his gaily coloured pictures" Walde may be described "as an optimistic antithesis". (Carl Kraus)
Alfons Walde Erotic scene with bathers ("Freikörperkultur") 1937 mixed media on paper; framed 20 x 29 cm (cut-out), 20.5 x 29.5 cm (sheet size) Inscribed on the reverse by another hand: von Alfons Walde zum Geschenk erhalten private property, Austria
Alfons Walde Standing nude with lascivious look and pearl necklace c. 1925 mixed media on cardboard; framed 34.6 x 14.5 cm estate stamp on the reverse estate of the artist; private property, Austria
