Saturday, April 26, 2008

"Schloss u. Kirche Perchtoldsdorf
(Perchtoldsdorg Castle and Church)
(28cm by 24cm)

Aquarel medium-size frame filler signed A. Hitler in script, not dated, numbered 19/2 circa 1910-1912 of the Vienna Period.

Peter Jahn recalls of this particular painting, "This aquarel is very well accomplished, of fine quality and shows already the progress in Hitler's way of painting..."

Perchtoldsdorf is not far from Vienna, and the buildings remain remarkably intact, as seen in a contemporary view here, as seen at Roberto Piperno's website: http://www.romeartlover.it/Vieperch.html

Schloss Lamberg Steyr/Enos (Lamberg Castle) (19.8cm by 27.5cm)

Aquarel medium-size frame filler signed A. Hitler in script, not dated, circa 1910-1912 of the Vienna Period.

Peter Jahn recalls of this particular painting, "The painting depicts the front view of the old Schloss Lamberg and is of the highest artistic quality and aesthetic beauty. I recall during my second interview with Hitler in Munich that he described his visit to Steyr where a number of clients commissioned paintings from him, among them the Lamberg Family."

This painting is accompanied by the original Peter Jahn provenance statement of authenticity dated 7 April, 1981, Vienna. Peter Jahn worked for Hitler, relocating his paintings prior to the outbreak of WWII. The article referenced at the top of the page describes Peter Jahn's significance as an authority on Hitler artworks.

Die Peterskirche in Wien
(St. Peter's Church in Vienna)
(14.0cm by 10.5cm)

Aquarel small-size frame filler signed A. Hitler in script, not dated, circa 1910-1912 of the Vienna Period.

This painting depicts the famous cathedral in the old section of Vienna. It is pen and ink, finished in watercolor. The detail is outstanding throughout. This painting was captured from the Obersalzberg in 1945.

This painting is accompanied by the original Peter Jahn provenance statement of authenticity dated 28 April, 1981, Vienna. Peter Jahn worked for Hitler, relocating his paintings prior to the outbreak of WWII. The article referenced at the top of the page describes Peter Jahn's significance as an authority on Hitler artworks.

Oedensplatz (Feldherrnhalle) (19.0cm by 13.5cm)

Aquarel medium-size frame filler initialed A.H. and dated 1914.

This painting depicts the famous cathedral and gate. It is pen and ink, finished in watercolor. The detail is outstanding throughout.

This painting has an original Peter Jahn provenance statement of authenticity dated 22 August, 1985, Vienna, however, it is a description, without a photograph.

Alter Werderthor Wien (The Werder Gate) (22.5cm by 20.9cm)

Aquarel medium-size frame filler signed A. Hitler in script, not dated, circa 1910-1912 of the Vienna Period.

This painting depicts the Old Waterway in the old section of Vienna. There is a significant amount of cross-hatch shading marking some of Hitler's later Vienna work. The detail is outstanding throughout.

This painting is accompanied by the original Peter Jahn provenance statement of authenticity dated May, 1972, Vienna. Peter Jahn worked for Hitler, relocating his paintings prior to the outbreak of WWII. The article referenced at the top of the page describes Peter Jahn's significance as an authority on Hitler artworks.

"Germania" (25.6cm by 45.2cm)

This is a Vienna Opera House Figure Study, rendered in red pencil, signed Hitler Adolf.

This sketch is contemporary with several similar figure studies dated to 1912 shown in Billy Price's Adolf Hitler: The Unknown Artist on page 135 (Figure 196) and page 163 (Figure 326). That drawing is also shown signed with the reversed name.

This sketch is accompanied by an original NSDAP signed letter describing the art as a red pencil sketch titled "Germania" as the art of Adolf Hitler, rendered in 1912.

This is a very rare piece of Hitler art, in that he disliked figure studies, as he was not particularly adept at rendering animate objects with any degree of accuracy. This inability to dra w the human form is one of the primary reasons he was rejected from acceptance to the Vienna Academy of Fine Arts, having failed his test drawings -- virtually all of them figure studies.

This painting is framed.

Vienna Opera House (24.5cm by 30cm)

Aquarel watercolor of the corner of the Old Vienna Opera House signed A. Hitler.

This was one of Hitler's favored subjects, as there are several examples extant of the subject building, from several different perspectives. Several paintings are shown in Billy Price's Adolf Hitler: The Unknown Artist, including this exact painting (page 135, Figure 195). The painting is not dated, however attributed to 1911.

This painting is framed.

Old City Gate (14.5cm by 21cm)

Aquarel watercolor of the old city gate in Deutsche-Altenburg, Austria signed A. Hitler.

This painting is pictured and described in Price's book, op cit page 128, Figure 162. It is attributed to the 1910-1912 period.

It is accompanied by a photograph of the original Peter Jahn authentication dated 24 March 1975, describing this particular painting. The original authentication may be behind the mat, as this painting is framed.

The Gloriette Gardens at Schloß Schönbrunn
(34.8cm by 45cm)

Aquarel watercolor of a portion of the Schloß Schönbrunn, a rendition of the Gloriette at the palace in Vienna, Austria initialed A. H. Hitler was documented as painting the Gloriette while is was living in the hostel at Wurlitzergasse, selling the paintings to a nearby picture framer, probably Morgenstern. As this painting is numbered "17", it was most likely painted in early 1909, while he was still in a partnership with Hanisch, who sold Hitler's paintings in exchange for a portion of the profits. Just after the break-up of the partnership (which resulted in the arrest of Hansch for embezzlement), Hitler moved into the Mendemannstrasse hostel.

This painting was acquired directly from Peter Jahn many years ago.

This exact painting is described on pages 161-162 of The Linz File by Charles de Jaeger, described to the author by Peter Jahn as: "He [Hitler] also told Peter Jahn that he painted simply to earn a living and never regarded himself as an artist; his natural bent was for architectural design. This is apparent in the detail Hitler gives to buildings in his pictures -- especially noticeable, according to Peter Jahn in Hitler's watercolour of the Gloriette summerhouse in the gardens of the palace at Schönbrunn, summer seat of the Austrian emperors. Hitler painted it while he was living at Wurlitzergasse and sold it to a picture-framer in a nearby street. It was common practice at the time to offset a frame that was in the window for sale by putting a pleasant landscape picture inside it, and this particular one was used over and over again. It had remained with the picture-framer's family until discovered by Peter Jahn."

This painting is from his late 1908 to early 1909 period.

The painting is permanently mounted on a 38.5cm by 49.8cm carrier. This was common for frame fillers as are the markings indicating the framing area, seen on the face. There are traces of an old penciled notation on the face too faint to read.

Sailboat at sunset. (9.0 cm by 14.0 cm)

Aquarel postal initialed "AH" and dated "08" of the Vienna period.

This postcard depicts a sailboat towing a small boat on a body of water. The art is rendered in shades of purple and orange, suggesting a sunset scene, in a portrait orientation.

The postcard was mailed to Kaethe Hoessrich in Nierstein. The postmark is dated 09.17.08, indicating it was mailed from Frankfurt a. Main on September 17th, 1908. There is a correspondence in German, written in pencil, rendered in Sütterlin script on the reverse of the postcard.

Castle Battlements (40.5cm by 27.5cm approximately)

This is a highly detailed painting of an unidentified castle and embattled crenellated walls and towers.

The painting is signed A. Hitler and dated 1910

This painting is framed.

Country Road. (14.4 cm by 9.4 cm)

Aquarel postal signed "Adolf Hitler" and dated "07" of the Vienna period.

This card depicts a country road to Linz in a landscape orientation. Originally intended as a postal, it was never mailed. Hitler apparently never outgrew his fascination for painting and sketching the city of Linz. Frau Traudl Junge recalled he did "countless sketches" of Linz.

Farmlands. (14.4 cm by 9.3 cm)

Aquarel postal initialed "AH" and numbered 23/6 and postmark dated "5.9.07" of the Vienna period.

This card depicts a view of farmlands and a distant church spire on the road to Linz in a landscape orientation. Originally intended as a postal, it was mailed to Kaethe Hoessrich. The stamp is absent. Hitler apparently never outgrew his fascination for painting and sketching the city of Linz. Frau Traudl Junge recalled he did "countless sketches" of Linz.

House with Chimneys. (14.4 cm by 9.5 cm)

Aquarel postal initialed "AH" and numbered 23/10 and intended as a postal card of the Vienna period (approximately 1907).

This card depicts a house, probably in Linz in a landscape orientation. Originally intended as a postal, it was never mailed.

Lake Scene. (14.1 cm by 9.7 cm)

Aquarel postal initialed "AH" and intended as a postal card of the Vienna period (approximately 1907).

This painting depicts a water inlet, with a single sailing ship, a church and several other buildings by a lake in a portrait orientation, occupying the upper third of the front of the card. Originally intended as a postal, it was never mailed.

Gr. Breitenbach. (14.4 cm by 9.5 cm)

Aquarel postal initialed "AH" and intended as a postal card of the Vienna period (approximately 1907).

This card depicts a wooded scene, occupying the upper quarter of the front of the card in a portrait orientation. Originally intended as a postal, it was never mailed.

Weather Witch. (14.2 cm by 9.2 cm)

Pen and Ink postal initialed "AH" and intended as a postal card of the Vienna period (approximately 1907-1908).

This drawing depicts a witch hag riding a broom weathervane in a portrait orientation, occupying the upper quarter of the front of the card. Originally intended as a postal, it was never mailed.

It is interesting to note the optical illusion of the letters on the vane "N-O-W-S (Nort - Ost -West - Sud) that make the letters "O" and "W" reverse perspective depending on the orientation of the observer. The correct view is looking at the vane from below and not above.

Hundwiese Farmhouse. (14.4 by 9.5cm)

Aquarel postal signed "A. Hitler" and titled in Hitler's hand of the Vienna Period. Intended as a postal, mailed to Kaethe Hössrich in Bad Petersthal in 1907 with a dated Frankfurt a. Main postmark.

This painting depicts a farmhouse on a dirt road and is titled "Hundwiese" and rendered in a landscape orientation. There is a correspondence in German, written in pencil, rendered in Sütterlin script on the reverse of the postcard.

Gruss aus Bingen overlook. 14.4 cm by 9.5 cm)

Aquarel postal initialed "AH" of the Vienna period. Intended as postal, mailed to Kaethe Hoessrich in Frankfurt am Main from Bingen

This painting depicts the town Gruss aus Bingen viewed from a nearby hill. Titled on back of card "Gruss aus Bingen" it is rendered in a landscape orientation. There is a correspondence in German, written in pencil, rendered in Sütterlin script on the reverse of the postcard.

Sailboats. (5.0 cm by 3.0 cm)

Pen and ink finished in watercolor miniature signed "A. Hitler". The period is indeterminate, most probably the Vienna period.

This tiny postage stamp sized painting depicts several sailboats tacking across a lake in a landscape orientation. Peter Jahn recalls "Hitler had varied his painting techniques, sometimes adopting the style of a miniaturist."

Mounted with archival hinge, UV resistant glass, with acid-free matting in a museum quality frame.

Church Spire.
(18.7 cm by 12.6 cm)
Aquarel frame filler initialed "AH" of the Vienna period.

This painting depicts a church bell tower in a portrait orientation. The figures in the foreground are indistinct and rendered with his typical casual disregard for figures. Rendered on pasteboard stock. Hitler usually painted in a traditional style: "His typical landscapes, city scenes and still lifes all clearly indicate how completely he was captivated by conventional forms of expression." And "His intense fascination with architecture was reflected in his numerous drawings of houses, churches, public buildings and city scenes."

Town Gate. (14.0 cm by 20.5 cm)

Aquarel frame filler signed "A. Hitler" of the Vienna period.

This painting depicts an 18th Century town gate (Anno Domini 1736) rendered in pale greens and browns in a portrait orientation. The painting is on its original cardboard (pasteboard) mounting, suggesting it may have been used to sell a number of frames.<

This painting is pictured and described in Treasure Trove: The Looting of the Third Reich on page 116.

Church at Dawn.
(21.0 cm by 10.0 cm)
Aquarel frame filler initialed "AH" of the Vienna period.

This painting depicts a snow covered church at dawn in a landscape orientation. The figures in the foreground are indistinct and rendered with his typical casual disregard for figures. Rendered on pasteboard stock. Hitler usually painted in a traditional style: "His typical landscapes, city scenes and still lifes all clearly indicate how completely he was captivated by conventional forms of expression." And "His intense fascination with architecture was reflected in his numerous drawings of houses, churches, public buildings and city scenes."

Linz landscape. (34.0 cm by 25.0 cm)

A pencil on linen textured paper sketch signed "Adolf Hitler" and dated "1908" of the Vienna period.

This drawing depicts the skyline of Linz, as viewed from the Urfahr suburbs across the Danube River in a landscape orientation. The bridge, castle, and cathedral, as well as other prominent landmarks of the time are drawn in excellent detail. This particular scene, from this vantage point is described: "Although Linz resembled a large market town with seven or eight stately buildings to testify to its medieval magnificence, it was the cultural center of Upper Austria. A bridge across the Danube led to the suburb of Urfahr, which lay in the shadow of a small mountain called the Postlingberg. From the mountaintop there unfolded a wonderful panorama of the city and the surrounding plains. It was a view that the young dilettante [Hitler] especially admired." And, "A handful of his architectural drawings made at that time have survived, and they show that he was capable of extraordinarily bold designs...."

Further, in a 1908 letter from Adolf Hitler to a friend, Gustl Kubizek, he asks ".... Would you be so good as to buy for me a copy of "Guide to the Danube City of Linz," not the Wöhrl, but the actual Linz one published by Krakowitzer. On the cover there is a picture of a girl from Linz, and in the background there is Linz seen from the Danube with the bridge and the castle...."

Payne speculates from this letter that Hitler was continuing to work on his plans for the reconstruction of Linz, and that Hitler continued to maintain an interest in this city enough to spend 60 Kronen for this guidebook, not an insignificant sum of money in those early days.

This particular drawing was acquired in its original frame, mat, and glass. In order to preserve it from any further deterioration, it has been remounted, hinged, matted and framed with museum-quality, acid-free, UV resistant materials

Millhouse.
(11.3 cm by 9.2 cm)
Aquarel frame filler initialed "AH" of the Vienna period.

This painting depicts a millhouse with a waterwheel in a landscape orientation. The figure in the foreground is indistinct and rendered with his typical casual disregard for figures, rendered on postcard stock. Hitler usually painted in a traditional style: "His typical landscapes, city scenes and still lifes all clearly indicate how completely he was captivated by conventional forms of expression." And "His intense fascination with architecture was reflected in his numerous drawings of houses, churches, public buildings and city scenes."

Still Life with Flowers.
(20.8 cm by 22.4 cm)
Aquarel double-sided frame filler signed A. Hitler of the very early Vienna period.

This painting depicts a red flowering plant in a plain vase on one side and a still life with fruit on the reverse. Only the side with the flower is signed.

This painting was originally intended as a generic frame filler with differing colors and subject matter used to fill the empty portion of a frame in order to enhance its appearance. The flower painting is predominantly green, brown, and red. The fruit uses yellows and oranges and a buff and off-white background.

This has a very early block letter A. HiTLER style signature with a fully formed "E" and all capital letters, except for the "i". This signature is most similar to and consistent with the one which is dated 1904 and depicted on page 21 of Adolf Hiter: The Unknown Artist, by Billy Price.

This painting has been pH buffered and ultrasonically encapsulated with argon gas in a UV protective inert sleeve.

The condition is near excellent with some minor signs of handling. There are several small holes at the corners from tacks used to hold it in place in a number of frames.

Ruins with Arches.
(15.8 cm by 11.0 cm)
Pen and Ink book illustration end paper initialed A.H. of the very early Vienna period.

This drawing depicts a party of explorers examining a site with very old ruins.

This drawing was applied to page of a book measuring 7-1/4 by 4-5/8 inches. The ruins appear to be medieval, and the explorers dressed in a style of the 17th century. The figures are typically minimal and out of proportion with the scene, a consistent issue with most of Hitler's art. The architectural details are far more precisely rendered. The cloudy sky and flock of birds show very minimal detail.

This has a very early block letter A. H. style initials are typical of a number of examples of Hitler's art dating from 1905 to 1912.

This drawing has been pH buffered and ultrasonically encapsulated with argon gas in a UV protective inert sleeve.

The condition is near excellent with some minor signs of handling. There is some wrinkling from paste when it was mounted on the book page.

Bridge with Towers.
(27.5 cm by 22.3 cm)
Pen and Ink illustration signed A.Hitler and titled Brücke of the Vienna period.

This drawing depicts a stone bridge with towers.

This drawing was rendered as a pen and ink study, it was not intended to a watercolor. The figures are typically minimal and out of proportion with the scene, a consistent issue with most of Hitler's art. The architectural details are far more precisely rendered. The cloudy sky and trees show very minimal detail.

Flower Blossom Study.
(18.2 cm by 11.7 cm)
Pen and Ink Water Color illustration book end paper initialed A.H. of the early Vienna period.

This drawing depicts three flowers in blossom with leaves in a still life style study.

This drawing was applied to page of a book measuring 7-1/4 by 4-5/8 inches. This appears to have been an assignment to detail the various views and profiles of the plant and foliage, probably school work.

The signature style is consistent with those of the 1910-1914 era.

This drawing has been pH buffered and ultrasonically encapsulated with argon gas in a UV protective inert sleeve.

The condition is near excellent with some minor signs of handling. There is some wrinkling from paste when it was mounted on the book page.

Flowers with Roots.
(18.2 cm by 11.7 cm)
Pen and Ink Water Color illustration book end paper signed A.Hitler of the early Vienna period.

This drawing depicts a flower in bud and bloom with attached roots in a botanical style study.

This drawing was applied to page of a book measuring 7-1/4 by 4-5/8 inches. This appears to have been an assignment to detail the various aspects of the plant and foliage, probably school work.

The signature style is consistent with those of the 1910-1914 era.

This drawing has been pH buffered and ultrasonically encapsulated with argon gas in a UV protective inert sleeve.

The condition is near excellent with some minor signs of handling. There is some wrinkling from paste when it was mounted on the book page.

Still Life With Bottle and Fruit.
(38.2 cm by 48.5 cm)
Charcoal and Chalk drawing initialed A.H. of the early Vienna period.

This drawing depicts corn ears, fruits, and rush covered wine bottle still life style study.

This drawing was applied to light weight textured art paper measuring 15-1/8 by 19-1/8 inches.

The signature style is consistent with those of the 1908-1909 era.

This drawing has been pH buffered and ultrasonically encapsulated with argon gas in a UV protective inert sleeve.

Moody Sky.
(14.6 cm by 9.5 cm)
Aquarel postal initialed AH of the Vienna period.

This painting depicts a moody, cloudy mountain skyline in subdued blues and purples on sepia-colored, thick postcard stock. In most of his work, Hitler is well known for his propensity to depict the sky as a roiling -- almost living -- entity. His work was heavily influenced by Rudolf von Alt, "...a prominent watercolorist of the late 19th century, was one of Hitler's favorites: "my teacher," as he said. He adopted Alt's preference for realistic, detailed scenes done in delicate tones, and precisely copied Alt's typically cloudy skies."

It was originally intended as a postal card, but was never mailed. The subject covers the upper half of the card in a landscape orientation.

This painting has been pH buffered and ultrasonically encapsulated in a museum quality frame.

Country road (landscape).

(14.4 cm by 9.4 cm)

Aquarel postal signed " Adolf Hitler" of the Vienna period. Intended as postal but not mailed. The back of the painting is unmarked.

This painting is rendered in bright colors, depicting a rail fence along a country road in a landscape orientation.

This painting has been pH buffered and ultrasonically encapsulated.

Steeple Study. (8.7 cm by 9.8 cm)

Aquarel frame filler signed "A. Hitler" of the Vienna period.

This sepia-toned architectural study depicts a spire of a church framed by trees rendered in Hitler's typical dappled manner in a portrait orientation. Peter Jahn recalls Hitler favored church views, as they were particularly easy to sell.

Jahn also remembered that Hitler used to sell church paintings to wedding parties outside the church.

This painting has been pH buffered and ultrasonically encapsulated in a museum quality frame.

This painting depicts a roiled, cloudy mountain skyline in turmoiled blues and purples on sepia-colored stock. In most of his work, Hitler is well known for his propensity to depict the sky as a roiling -- almost living -- entity. This work appears to be from very early in his career as an artist, and shows his experimentation with various styles of sky treatments. Compare with A1 and A12, above.

It was intended3as a frame filler, and it has faint marks at the extreme edges where it was once framed. There are four tiny holes from tacks at the corners.

This painting has been pH buffered and ultrasonically encapsulated in a museum quality frame.

Aquarel signed "A Hitler" and dated "1909" of the Vienna period in a landscape orientation.

This is a view of an old building -- most probably a church, there is a spire with a cross at the right) near Linz, Austria. rendered in a landscape orientation.

White Orchids. (24 x 29 cm)

Aquarel on gray paper signed "A Hitler" of the Munich period in a portrait orientation, double matted and framed under glass.

This is a rare rendition of orchids. When painting flowers, Hitler tended to prefer painting carnations. This was probably a specifically commissioned artwork

There is little doubt this is one of the Munich paintings, since Hitler did not paint during 1913 prior to his move to Munich. Munich paintings are much rarer than Vienna paintings, as Hitler was not inclined to actively seek them out in his search of his old works. He spent a little more than a year painting -- from May 1913 to August 1914 -- before he volunteered for the Bavarian military service.

The St. Charles Church. (Approximately 10.8cm x 16 cm. (4-1/4 inches by 6-3/8 inches))

Aquarel signed "A Hitler" and dated "1914" of the Munich period in a portrait orientation. This is a miniature painting (rarely seen) with an actual painted area measuring 4.9cm by 6.9cm

This is a view of Karlskirche (St. Charles Church), in Vienna Austria rendered in a portrait orientation.

This is one of several paintings that was presented to Professor Gerdy Troost when she was Hitler's personal secretary. It has a 1914 dated signature and identification of the scene on the front and an undated 1930s period signature in pencil with Gerdy Troost property stamp on the back. The signature is faint, but legible.

The Country Church.
(Approximately 24cm x 41.5cm. (9-1/2 inches by 12-1/2 inches) mounted in the original Morgenstern frame)

Aquarel signed "A Hitler" and dated "1914" of the Munich period in a portrait orientation. This painting is mounted on a Morgenstern stamped pasteboard carrier and framed in its original Morgenstern stamped ebony and gilt frame.

This is a view of an unidentified country church in heavy woods (most likely in the Munich, Bavaria area) rendered in a portrait orientation.

Aquarel signed "A Hitler" and dated "1913" of the Munich period in a portrait orientation. Original mounting on cardboard, a small tear, repaired long ago, approximately 12 cm from the bottom, 11 cm in from the left edge, and 4 cm long. It is barely noticeable to the unaided eye and does not detract. There is evidence of framing on the mat, and at the very edges of the painting.

This is a view of the Rotterdam Cathedral rendered in a portrait orientation, showing the streets bustling with early morning activity. It was most likely painted in München after May 26th, 1913, when Hitler moved into the Josef Popp residence at 34/III Schleissheimerstrasse.

Frau Popp in an interview several years later recalled "He began his painting straight away and stuck to his work for hours. In a couple of days I saw two lovely pictures finished and lying on the table, one of the cathedral and the other of the Theatinerkirche. After that my lodger [Hitler] used to go out early of a morning with his portfolio under his arm in search of customers."

There is little doubt this is one of the Munich paintings, since Hitler did not paint during 1913 prior to his move to Munich. Munich paintings are much rarer than Vienna paintings, as Hitler was not inclined to actively seek them out in his search of his old works. He spent a little more than a year painting -- from May 1913 to August 1914 -- before he volunteered for the Bavarian military service. Museum hinged, matted, and mounted with acid-free materials and behind UV resistant Plexiglas. The title is displayed on reverse of the painting.

The Munich Opera House.
(Approximately 28cm x 41 cm. 25 inches by 19-3/4 inches framed)

Aquarel signed "A Hitler" and dated "1914" of the Munich period in a landscape orientation.

This is a view of the München Hoftheater (Munich Operahouse) rendered in a landscape orientation, showing the Opera House just after a rainstorm. It was painted in München in the first half of 1914, when Hitler lived the Josef Popp residence at 34/III Schleissheimerstrasse.

Frau Popp in an interview several years later recalled "He began his painting straight away and stuck to his work for hours. In a couple of days I saw two lovely pictures finished and lying on the table, one of the cathedral and the other of the Theatinerkirche. After that my lodger [Hitler] used to go out early of a morning with his portfolio under his arm in search of customers."

Munich paintings are much rarer than Vienna paintings, as Hitler was not inclined to actively seek them out in his search of his old works. He spent a little more than a year painting -- from May 1913 to August 1914 -- before he volunteered for the Bavarian military service. Museum hinged, double matted, and mounted with acid-free materials and behind UV resistant Plexiglas in an antiqued gilt frame.

Aquarel watercolor of the Arch of Triumph in Munich, Germany signed A. Hitler, dated and titled in Hitler's hand. It is accompanied by a Peter Jahn authentication dated 16 July 1974. In the authentication, Jahn states that this particular monument held a special symbolic significance to Hitler.

Like all the Munich period paintings, this was painted in the latter part of the year.

For those who think Hitler was not particularly talented in rendering architectural designs, compare the painting from 1913 with a postcard of the same scene at the identical angle taken in 1980, below the painting.

Die neue Hermannsmühle (11.1cm by 12.4cm)

Aquarel titled "The Hermann's New Millhouse" signed Adolf Hitler and dated 1913 at the lower right. It is also named in Hitler's handwriting at the lower left.

This is a small frame filler of a millhouse and waterwheel. Mills and waterwheels were the source of several of Hitler's earlier works (compare with A4, above).

This one was painted in the later part of 1913 in Munich.

This painting is accompanied by an original signed WWII letter on NSDAP letterhead, which names the painting and describes it as a watercolor picture painted by the Führer and Reichskanzler Adolf Hitler in the year 1913 and shows the title and how it is signed and dated. This appears to be some sort of inventory document. The painting itself is numbered in pencil on the back with the number "236".

Hitler paintings with original Third Reich paperwork are extremely rare.

Hitler Aquarelle of World War I

The condition of the prints is virtually immaculate. The folio cover however has some very minor soiling from age. There is a small notation of the name of the soldier who captured the folio on the title page. The prints still retain the onionskin coverings with the titles of each work. They have never been framed or mounted. The prints measure approximately 8-1/2 by 11-1/2 inches. This book is in better condition than the generally seen. Some of the foldover interior retainers have splits along the seams, nothing that impacts the content.

Hitler Aquarelle of World War I

This folio contains seven quality prints of WWI period Hitler watercolors rendered between 1914 and 1917. There is also a commentary and description of the art.

This is the Hoffmann produced set with the complete commentary included.

The condition of the prints is virtually immaculate. The folio cover however has some very minor soiling, corner bumps and a minor tear on the back corner paper from age. The prints still retain the onionskin coverings with the titles of each work. They have never been framed or mounted. The prints measure approximately 8-1/2 by 11-1/2 inches. This book is in superior condition, excepting the exterior cover details as described above. The onion skins and interior show some minor foxing.

Hitler Aquarelle of World War I

This folio contains seven quality prints of WWI period Hitler watercolors rendered between 1914 and 1917.

This is a very high quality Limited Edition post-WWII production of the original Christmas 1937 the Baldur von Schirach produced set with the title page and individually matted prints. Please note: this is NOT the original 1937 set, and it is being offered at a fraction of the price of the original.

The condition of the prints and wood-grained cover is virtually immaculate. The prints do not have the onionskin coverings with the titles of each work as seen in the Hoffmann set. They have labeled removable cover mats. They have never been framed or mounted. The prints measure approximately 8-1/2 by 11-1/2 inches. This book is in outstanding near-mint condition.

The Trail

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1916". It measures 23.0cm by 26.5cm. The frame measures 32cm by 37cm (12-1//2 by 14-3/4 inches)

The painting depicts a battlefield, with war-torn trees on each side of a heavily shelled road. It is rendered in a landscape orientation. It has the original WWI period frame, crafted by Morgenstern. There is a certificate of authenticity from Peter Jahn picturing the painting and documented in German, dated 22 August 1985.

It is pictured and described in Treasure Trove: The Looting of the Third Reich on page 125.

Tank Battleground

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1916". It measures (approximately) 34.5cm by 21.5cm. The frame measures 38.5cm by 26cm (15-1/2 by 10-1/2 inches)

The painting depicts a pair of German tanks under smoke-filled sky, with war-torn trees on each side of a heavily shelled road. It is rendered in a landscape orientation. It has an old post-war period frame.

Tank Patrol

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1917". It measures (approximately) 26cm by 31cm. The frame measures 31.5cm by 36.5cm (12-1/2 by 14-3/8 inches)

The painting depicts a German tank followed by a partial squad of soldiers advancing through a war-torn town, with war-torn trees on each side of a heavily shelled road. It is rendered in a landscape orientation. It has an old post-war period frame.

Armored Car Attack

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1916". It measures (approximately) 27cm by 18cm. The frame measures 37.5cm by 27cm (14-7/8 by 10-1/4 inches)

The painting depicts a French armored car under attack by German forces. It is rendered in a landscape orientation. It has an old post-war period frame.

Destroyed Building with Archway

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and undated with handwritten German caption. It measures (approximately) 33cm by 25cm. The frame measures 50.5cm by 40.5cm (20 by 16 inches)

The painting depicts a destroyed building with an archway still intact. It is rendered in a landscape orientation. It has an old post-war period frame.

Destroyed Town of Ypres

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1916" with handwritten German caption identifying the location as Ypres. It measures (approximately) 33cm by 25cm. The frame measures 50.5cm by 40.5cm (20 by 16 inches)

The painting depicts the destroyed buildings and shell pocked road through the French town of Ypres. It is rendered in a landscape orientation. It has an old post-war period frame.

Destroyed Tank

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1916". It measures (approximately) 22.5cm by 17.5cm. The frame measures 26cm by 21cm (10-1/4 by 8-3/8 inches)

The painting depicts a destroyed German tank and artillery on the battlefield. It is rendered in a landscape orientation. It has an old post-war period frame.

Smoking Tank

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1916". It measures (approximately) 21cm by 16cm. The frame measures 27cm by 22cm (10-3/4 by 8-5/8 inches)

The painting depicts a destroyed German tank still smoking on the battlefield. It is rendered in a landscape orientation. It has an old post-war period frame.

Road to No Man's Land

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1916". It measures (approximately) 17.5cm by 20cm. The frame measures 23.5cm by 26cm (9-1/4 by 10-1/4 inches)

The painting depicts a muddy road leading to the battlefield. It is rendered in a portrait orientation. It has an old post-war period frame.

Battlefield Wall
This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1918". It measures (approximately) 28.5cm by 20.5cm. The frame measures 29.5cm by 21.5cm (11-5/8 by 8-1/2 inches)

The painting depicts a German soldier on a road behind a wall overlooking a battlefield. It is rendered in a landscape orientation. It has an old post-war period frame.

War Torn Town

This is an aquarel. pen and ink finished in watercolor signed "A. Hitler" and dated "1918". It measures (approximately) 28cm by 20.5cm. The frame measures 30cm by 22cm (11-3/4 by 8-3/4 inches)

The painting depicts a German soldier wearing a trench coat on a road in a destroyed French town. It is rendered in a landscape orientation. It has an old post-war period frame.

The glass is broken in the frame, apparent in the images.

München Strassenbahn (approximately 29cm by 32cm)

Aquarel titled "München Straßenbahn" signed A Hitler

This painting is accompanied by an original signed expertise, written in German by G. Prof. Dr. August Priesack of the Zeitgeshichte-Archiv in Munich. He dates the painting to 1925, based on architecture and the history of the straßenbahn in the area. He identifies the buildings as the Alter Rathaus, by the Nueue Rathaus, the Peterskirche, to the left the Helig Geistkirche, and other buildings in the vicinity. There is some discussion of the straßenbahn as well. The expertise is dated 1983.

Hitler paintings with German Historical Archives paperwork are very rare.

The Basler Gate.
(32 cm by 46 cm) Oil signed "Adolf Hitler" and dated "1933" of the late period.

This painting depicts the Basler Gate and surrounding area. There is a period printed description and dedication a label on the back. There is a full signature and date at the bottom right.

Hitler very seldom worked in oils, preferring to use watercolor. There are very few existing examples of his oils, especially from this late period.

Tea Kitchen.
(25.0 cm by 34.0 cm) Aquarel initialed "AH" of the late period.

This painting depicts the Tea Kitchen of the Kehlstein in a landscape orientation. Part of the storyboard set. Details similar to A38, above. Annotated on the back of the painting by Hitler.

Sitting Room. (25 cm by 34 cm)

Aquarel initialed AH and numbered "32/23" of the late period. Part of the Bormann storyboard. Labeled on back in Hitler's handwriting.

The painting depicts the Sitting Room of the Kehlstein, codenamed Der Adlerhorst (Eagle's Nest) Obersalzberg, Berchtesgaden, Germany, near the Austrian border, as viewed from the center of the room rendered in a landscape orientation. There are tack holes in all four corners.

A period photograph of the sitting room, taken in May of 1945, shows the same room occupied by US GIs of the 506th PIR, 101 A/B. The photo clearly shows the table, chair, and a portion of the couch, very similar in design to those shown in the painting.

Hitler was known for designing his own furnishings, frequently providing sketches and paintings to his staff so they could be created for him.

Informal dining room. (25.0cm by 34.0cm)

Aquarel initialed "AH" of the late period. Landscape orientation. Details similar to A37. Part of the storyboard set. Annotated on the back of the painting by Hitler.

Aquarel initialed "AH" of the late period. Landscape orientation. Details similar to A37. Part of the storyboard set. Annotated on the back of the painting by Hitler.