(Oberndorf 1891–1958 Kitzbühel)
“Kitzbühel”, 1930, signed A. Walde, on the reverse a label: Alfons Walde Kitzbühel-Tirol-Austria and in the artist’s handwriting: “Kitzbühel” 1930, signed A. Walde, oil on cardboard, 43 x 58 cm, in original artist’s frame

Registered:
Alfons Walde Archive under no. D-LA-507.

Exhibited and with a full-page colour ill. in the catalogue:
Egger-Lienz/ Walde/Berg, Über das Land, 3 Ausstellungen/ 3 Maler/ 3 Orte, Museum der Stadt Lienz Schloß Bruck/Museum Kitzbühel Sammlung Alfons Walde/Werner Berg Museum Bleiburg/Pliberk, Hirmer Verlag, Munich 2012, p. 55

Compare:
Gert Ammann, Alfons Walde, 4. Auflage, Tyrol-Verlag, Innsbruck 2001, p. 287 (Kitzbühel in winter, tempera painting- ownership Museum Kitzbühel)

Provenance:
This painting was part of the interior at a Kitzbühel residence, designed by the artist
Private Collection, Austria

... It has already been stated that Alfons Walde feels at home in a small mountain town in Tirol, but the world at large does, in fact, flock to this small rural town in the mountains. Kitzbühel is one of Europe‘s pre-eminent winter sports locations. It exercises a magnetic draw, attracting people from cities to the east, west, north and south. For an artist like Alfons Walde it is evident that this is where the essence of intellectual life can be found. He succeeded in bridging the gap between these loud, noisy and affectionate city dwellers and the majesty of nature...

Fritz Karpfen, Alfons Walde, Bergland, VI (1924), in Gert Ammann, Alfons Walde from the aforementioned literature

Max Roden, Tiroler Künstler. Volkszeitung, Vienna, 25 July 1927, Gert Ammann…...

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. Key pieces within his characterful oeuvre can be seen in the Secession, whose 94th exhibition takes place during this month and the next, displaying art typical of the Tirol region. Alfons Walde took on pleasant autonomy on his path to greatness. This is more than a personal issue, as it led to new expressions for form and colour. Goethe‘s statement that there cannot truly be anything new in poetry (and that it only ever comes down to the fact that something has been reiterated, and the manner in which this reiteration takes place) also applies to visual arts.
Even something astonishingly new always contains elements that are drawn from the past. To name a few of the key moments that encourage this evolution, it is only about continuing something which already exists, about assembling things in a different way, about introducing a new spirit. ..