HERBERT GURSCHNER (Innsbruck 1901 - 1975 London), Lazarus, around 1926

HERBERT GURSCHNER*
(Innsbruck 1901 - 1975 London)
Lazarus, around 1926
oil/canvas, 92 x 69 cm
signed Gurschner
Provenance: estate of the artist, Fine Arts Widder, private collection
Provenance: estate of the artist, Brenda Gurschner London, Fine Arts Widder, European private collection

ESTIMATE °€ 20.000 - 40.000
START € 20.000

Austrian painter and stage designer of the 20th century especially the interwar period. A representative of Tyrolean modernism such as Artur Nikodem, Ernst Nepo, Wilhelm N. Prachensky, Hans Tyrol-Weber, etc. Stylistic development between Expressionism and New Objectivity. Nephew of the sculptors Emil and Gustav Gurschner. Attended the School of Arts and Crafts in Innsbruck and studied at the Academy of Fine Arts in Munich from 1918 to 1920. In 1920 he lived in Mühlau in Innsbruck, exhibited with the Mühlau Circle around Alfons Schnegg, Rudolf Lehnert and Ernst Nepo. Early 1920s landscapes and cityscapes from travels through Tyrol, Salzburg and Italy. 1924 Married the English noblewoman Dolores Cherwadsky-Damarkow, established contacts with London artist and collector circles. 1929 first exhibition at the London Fine Art Society. Contacts with aristocratic, diplomatic and business circles, exhibitions in London and New York. Marries his two Brenda Davidoff. Created landscapes, portraits and religious representations. Figurative approach comparable to Albin Egger-Lienz, Tyrolean landscape artists such as Alfons Walde and Oskar Mulley.



Gurschner's talent for painting became apparent at an early age. In 1918 he was accepted as the youngest student at the Academy in Munich. From 1920 he lived in the Mühlau district of Innsbruck and exhibited together with the other artists of the "Mühlau Circle", Nepo, Schnegg and Lehnert. From 1925 onwards he travelled extensively in Italy, Spain and France, exhibited at the Venice Biennale and had an acclaimed solo show at the London Fine Art Society in 1929. In 1931, the Tate Gallery purchased his "Annunciation". Gurschner lived from numerous portrait commissions and thus moved in aristocratic, diplomatic and business circles. In 1938 he went into exile in London, where he met his second wife Brenda. After the war, Gurschner turned to stage design and worked for Covent Garden Opera, the Globe and Hammersmith Theatre.

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