Albin Egger-Lienz (29 January 1868 – 4 November 1926) was an Austrian painter.
Artists: Egger-Lienz, Albin (Jan 29, 1868 – Nov 4, 1926)
Title: The Grace
Dimensions: 19.3cm × 14 cm
Published: Circa 1960s
Medium: Gravure-print
Collection: Original in the Tyrolean State Museum Ferdinandeum
Epoch: Realism, symbolism
Country: Austria
Condition: Very Good

Vintage 1960's gravure of Austrian artist Albin Egger-Lienz' - "The Grace", - originally, an oil-on-canvas, painted in 1923.

Egger-Lienz work has hardly been seen outside of Austria, all because of a political propaganda myth (see further below) that connected Egger-Lienz, with Adolf Hitler, - and because of this is genuine, it makes a fairly rare reproduction - as most copies are modern-day digital prints.

It's far more valuable and satisfying to own a vintage piece than that of a modern-day digital reproduction that can sell for high amounts, - (with copyright fees to be paid to Egger-Lienz estate for any reproductions made from 1923 to the time of his death in 1926, and that lasted for 70 years, this arrangement would have expired in 1996).

According to its provenance; this gravure had been in the same German family since at least early 1960s. It was believed to have been purchased and connected to a rare "celebration" of his art, even though it's not connected to this 1932 example, the other that follow it do - such as when the Austrian Post published in 1932, a six-value series of stamps about Austrian painters, including the portrait of Egger-Lienz.

Some years later, three stamps were issued of Egger-Lienz work '100 years Künstlerhaus, 1961; Christmas, 1969, European Family Congress, 1978, - and it is thought/assumed by the family that version listed here - is from the Christmas 1969 period.

A one-schilling coin of the post-war period, designed by Michael Powolny, showed the figure of the devil from Egger-Lienz' ‘painting. 'Sämann and Teufel'.

The gravure itself is in very good condition (see photos), adhered to the velum outer cover from a German hardback book which is 4mm thick card - 24cm x 18.3cm; - the image itself is 19.3cm x 14cm. The backing board the gravure is attached to, there's slight damage (see photo) on the upper right-hand side, and occurred when it was removed from its original frame, that is not included in this listing.

It was framed, though as I am offering FREE postage, the frame is not included in the sale, (if you really wanted it, - then contact us so we can arrange a payment of £10 for the frame + Postage Costs. We could send you photos so you can see the condition of the frame before you buy).

Though, this would look great if bordered, mounted, and hung in a contemporary wooden frame that contrasts the rich nutty-wooden-autumn-like colours, - come summers-morning/evening glows that flow from this striking humbling image.

In 1930, the Egger-Lienz-Gasse was named after the painter in Vienna Meidling The Egger-Lienz-Platz is located in Lienz In 1951, a memorial placard was added to the former dwelling-house of the artist in Veithgasse 3 in Vienna A monument is located in Längenfeld in Tyrol, Where he spent his summer stays in the Gries-Quirein district of Grisons, the Egger-Lienz-Strasse recalls the artist

Among the national socialists, Egger-Lienz was esteemed especially by Alfred Rosenberg, but this did not lead to any exhibition of Egger-Lienz’s works before the Anschluss of Austria in 1938. The ever-valued appreciation of Adolf Hitler’s for Egger-Lienz is an unstable political myth. The image of man and woman, given to him by the Gaukulturleitung Kärnten, on the occasion of the 50th birthday, the painting was immediately given to the Kärntner Landesgalerie, more in 1943, the still existing Egger-Lienz-Museum was opened in the Lienzer Schloss Bruck. The cultural policy of the National Socialists was the works of the early and the middle of his war women was exhibited in 1940, as in the 1940/41 gallery in Welz in Vienna – but in a Separee – the picture finale. Other pictures such as 'The Nameless' in 1914, were reinterpreted in the national socialist sense.

This official appreciation by the national socialists has left the reception of Egger-Lienz permanently disabled in the Second Republic Between 1945 and 1996, only four individual exhibitions were held. In 1968 Egger’s birthday was ignored even in Tyrol, only in 1976 and again in 1996 were the round deathdays Exhibitions in the Tiroler Landesmuseum Ferdinandeum. According to his biographer, Wilfried Kirschl, in the last few years the receptionist Eggers defined a departure from the emphasis of the popular, the typical to the designer of the war experience and the late thought images. Robert Holzbauer sees the classification Egger-Lienz ‘ As a representative of classical modernism.

The older reproductions such as lithographs and gravure images can sell for £100s to £1000's
Source: https://www.invaluable.com/artist/egger-lienz-albin-wfv538j5ox/sold-at-auction-prices/

In the art market, the large number of replicas of the individual paintings are fetching high prices. The market is also essentially limited to this Austrian artists work. The highest price achieved for a picture of Egger-Lienz is 760,000 euros, which took place on 30 May 2006 at an auction In the Viennese Dorotheum for a version of the Totentanz 1809 of 1921. The highest international price was around 208,000 euro for a version of the Bergmäher of 1907, which were achieved 2002 at Sotheby’s in London - source: https://www.hisour.com/albin-egger-lienz-14190/

Here's a great blog that covers a lot of his work titled 'Albin Egger-Lienz: Work and War, 1904-1926' https://eclecticlight.co/2018/05/20/albin-egger-lienz-work-and-war-1904-1926/

Albin Egger-Lienz (1868–1926), one of the most important pioneers of Austrian Expressionism, to whom the Belvedere will devote an exhibition in spring 2014. The artist’s war paintings are impressive memorials warning against the horrors of fighting and violence.

In 1906, the purchasing commission of the Modern Gallery, today’s Belvedere, commissioned the artist to create a work. In time for the diamond jubilee of Emperor Francis Joseph I and shortly before the 100th anniversary of the Tyrolean Wars of Liberation, Egger-Lienz delivered the painting Danse Macabre of 1809, the earliest surviving version of a motif with which he frequently dealt between 1906 and 1921. When the painting was first presented publicly on the occasion of the jubilee celebrations, its non-festive atmosphere was felt to be a provocation; in 1914, it was interpreted as foreboding of World War I, whereas the National Socialists tried to abuse the work in order to justify the idea of dying a hero’s death.

Starting out from the painting Danse Macabre of 1809 and presenting numerous further works by the artist, the exhibition Danse Macabre: Egger-Lienz and the War traces Egger-Lienz’s artistic evolution and elucidates various references and lines of interpretation.print (with copyright fees to be paid to Egger-Lienz estate for any reproductions made) published from at least the 1960s era.

He was born in Dölsach-Stribach near Lienz, in what was the county of Tyrol. As an artist, he had a special preference for the rustic genre and historical paintings; under the influence of Ferdinand Hodler, Egger-Lienz abstracted his formal language into monumental expressiveness.

He trained first under his father (a church painter), later he studied at the Academy in Munich where he was influenced by Franz Defregger and French painter Jean-François Millet. In 1899 he moved to Vienna. During 1911 and 1912 he was a professor at the Weimar Saxon-Grand Ducal Art School in Weimar and he served as war painter during World War I. In 1918, he turned down a professorship at the Vienna Academy and settled in South Tyrol. Egger-Lienz died on 4 November 1926 in St. Justina-Rentsch (it), Bolzano, Italy.

https://en.wikipedia.org/wiki/Albin_Egger-Lienz