Alfons Walde *
(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.
Bid on this lot
(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.
