(Oberndorf 1891–1958 Kitzbühel)
“Einsame Hausung”, signed A. Walde, oil on cardboard, 59.5 x 42.5 cm, in original artist’s frame

Version with special depth effect and relief-like paint application.

Registered:Alfons Walde Archive under no. D-LA-496

Compare:
Gert Ammann, Alfons Walde, Tyrolia-Verlag, 2001, p. 105 (full-page colour ill.)
Leopold Museum, Alfons Walde, exhibition catalogue, 2006, p. 115 (full-page colour ill.)

Provenance:
Private Collection Vienna since 1937 (as a wedding gift)
Thence by descent

Already on 7 May 1927 he wrote to Ambrosi in Vienna: “15 June is the submission deadline for the Tyroleans’ collective exhibition in the Secession (organised by the Heimat), I don’t know whether I should participate, and what you think about the matter, I have nothing prepared. Prachensky, Torgler, Nepo, Nikodem will wish to take centre stage and dazzle en masse. Life is getting ever more complicated and dangerous for me.”
Ambrosi prepared the critics’ platform for this exhibition as well, he extolled Walde as “a great Alpine painter, a Dante of pictorial effect and outline, a sculptor of colour and line”, recommending him in this manner, for instance, to Ernst Colbert (writing for Abend), Hermann Menkes (Neues Wiener Journal), Max Roden (Österreichische Volkszeitung), V. Trautzl (Reichspost, and Österreichische Illustrierte Zeitung)…
In the end, Max Roden dedicated almost half of his review in a seven-column article in the Österreichische Volkszeitung of 25 July 1927 to Walde’s work: “If people could look without prejudice, and not always wish to wait until one persuaded them to accept what they would, in any case, sooner or later be compelled to acknowledge, they would have the pleasant satisfaction of already recognising Walde as one of the most significant Austrian painters”.
The Nuremberg exhibition in 1928, which proved successful for Walde, the exhibition in the Vienna Künstlerhaus in the autumn of 1928 (with three paintings: Farmstead on the Wild Kaiser Mountains, Lonely Dwelling and Farmers’ Sunday), and the 50th anniversary exhibition of the Künstlerhaus in the spring of 1928, with Ambrosi’s portrait, were the most important stages of the exhibition calendar in the late 1920s. They all contributed, to an extent, to the nationwide recognition of Walde, which ran parallel to his success in his home town of Kitzbühel …
From the aforementioned literature by Gert Ammann