ALFONS WALDE (Oberndorf 1891-1958 Kitzbühl) Lonely mountain farm. 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 coloured 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 catches 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 emphasised 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) Lonely mountain farm. 1934. Oil on cardboard. Signed lower right: A. Walde. Titled and dated on the artist's label verso: "Einsamer Berghof" / 1934. 42.4 × 67.7 cm. In the original frame. Expertise: Prof. Dr Gert Ammann, Völs, 10.8.2024 (WVZ. no. D-LA-937). Provenance: Privately owned in Switzerland, acquired directly from the artist in the 1930s and still in family ownership today. We would like to thank Prof. Dr Gert Ammann for confirming the authenticity of the work. The depiction of the wintry Tyrolean mountain landscape occupies a predominant place in Alfons Walde's oeuvre. The "Lonely Mountain Farm" is an important motif of the 1930s, which is also reflected in the form of a colour postcard published by the artist. The imposing farmhouse with its brick-built living quarters and wooden barn is enthroned on a hilltop. To the left below, on the mountainside, is another wooden stable building. In the background, the mountain range with rocky sections and snowfields against a cloudless blue sky completes the scene. The woman with the child in the foreground is an eye-catcher. This addition of one or more figures to the hitherto deserted winter landscapes can only be observed in Walde's work from the 1930s onwards and suggests that it is more than just staffage. In addition to the symbolism of the connection between nature and man or the interpretation in a religious sense (mother with child), a biographical reference can also be made. Walde's second wife gave birth to a child in 1930. It is also fitting that in these compositions of the mountain courtyards, winter already seems to be giving way to the beginnings of spring: the season of awakening and new life. The spring sun shining in from the left has already melted away the snow in some places. The stylistic device of large contrasts of light and shadow also alludes to the spring sun. For example, the darker blue of the shadowy sections of the rocks stands out from the lighter blue of the snowfields in the light. At the same time, the areas strongly illuminated by the sun are emphasised by the thick, impasto application of paint. Both works by Walde (see also lot 3241) still have the original artist's frame with the wide moulding. 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.