294 - Heinrich Ludwig Jungnickel* (Wunsiedel 1881 - 1965 Vienna)

Heinrich Ludwig Jungnickel* (Wunsiedel 1881 - 1965 Vienna) Fable of the ram and the fox, 1919 pencil and colored pencil/paper 13,7 x 10,5 cm inscribed Fabel vom dummen Bock und schlauen Fux Wobei der Bock durch seine Unüberlegtheit in der Zisterne verkam (fable of the dumb ram and the clever fox, where the ram perished in the cistern, due to his imprudence) Preliminary drawing for animal fables of classical antiquity (Viktor Fleischer, Anton Scholl publishing house, 1919) SCHÄTZPREIS / ESTIMATE °€ 200 - 400 STARTPREIS / STARTING PRICE °€ 200 Ludwig Heinrich Jungnickel, the German-Austrian artist, was the son of a carpenter and became one of the leading figures in animal illustration and animal art during the Art Nouveau and Viennese Modernist movements. His diverse practice encompassed painting, color woodcuts, animal prints, bookplates, wallpaper designs, and book illustrations, always characterized by a keen observation of nature and masterful technique. In 1885, the family moved to Munich, where Jungnickel attended the School of Applied Arts. The archaeologist Orazio Maruchi granted him access to the Vatican collections, where he made copies so convincing that he was offered training as a church painter. To this end, he became a pupil at Tanzenberg Abbey near Klagenfurt. In 1899, he moved to Vienna and enrolled at the Vienna Academy in the General Painting School under Christian Griepenkerl. Around 1900, he designed collectible cards for the Cologne chocolate manufacturer Ludwig Stollwerck. After a trip to Hungary, he enrolled in 1902 at the School of Applied Arts of the Imperial and Royal Museum of Art and Industry, studying under Alfred Roller. In 1905, he briefly studied at the Munich Academy under Professor Marr, but returned to the Vienna Academy in 1906 to study with William Unger. His breakthrough came with innovative images using stencil spraying techniques, inspired by the magazine *The Studio*. In 1906, he exhibited at the Vienna Secession—without ever becoming a member—and worked as an employee of the Wiener Werkstätte (Vienna Workshop), where he collaborated with Koloman Moser and Josef Hoffmann. His most important work for the Wiener Werkstätte was the animal frieze for the children's room in the Palais Stoclet in Brussels. At the 1908 Vienna Art Show, he presented his first color woodcuts, followed in 1909 by a series of animals from the Schönbrunn Zoo. International successes followed: in 1911, a graphic arts prize in Rome, a gold medal in Amsterdam, in 1914 a state medal at the Bugra exhibition in Leipzig, and in 1915 silver and bronze medals in San Francisco. His designs for Gmundner ceramics also attest to his versatility. In 1911, he was appointed professor of graphic arts in Frankfurt, where he exhibited views of the city. In 1912, he returned to Vienna, where he created wallpaper designs, bookplates, and animal woodcuts. Study trips took him to Bosnia and Herzegovina in 1912 and to Hungary in 1914. During the First World War, he switched to drawing with charcoal, chalk, and pencil; in 1915, he served in the military rear. In 1917, he created the portfolio "Animals of the Fable," expanded to include Aesop illustrations (published in 1919 by Schroll). In 1918, he became an Austrian citizen. The 1920s brought travels to Germany, Holland, Italy, and Yugoslavia, as well as publications such as *Italian Sketchbook* (1921) and *Studies from the Spanish Riding School* (1922). He was apparently also involved with the Bauhaus in Weimar, as evidenced by a lithograph in the 1919 portfolio of the Society for Reproductive Art. From 1924, he was a member of the Vienna Künstlerhaus (Hagenbund), where he exhibited his work. His oeuvre was crowned with awards: in 1930, the Austrian State Prize and the Golden Medal of Honor from the Vienna Association of Visual Artists; in 1937, the Grand Austrian State Prize; he also exhibited his drawing *Dalmatian Donkey* at the Great German Art Exhibition in Munich. In 1938, he emigrated to Opatija because his Aryan certificate was blocked and he was denounced for alleged contact with Jews. His apartment was cleared out by the Gestapo, and in 1945, his studio was destroyed; he was convicted in absentia of "activities hostile to the state." Jungnickel's oeuvre combines the decorative elegance of Art Nouveau (Ver Sacrum) with expressive animal painting and stands in the tradition of Egon Schiele, August Eisenmenger, and other pioneers of Viennese Modernism. His animal prints—from Schönbrunn Zoo animals to exotic landscapes—remain a highlight of interwar graphic art and exile art. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights and platform fee. In the case of normal taxation (marked ° at the estimate), a premium of 24% is added to the highest bid. The mandatory sales tax is added to the sum of the highest bid, the buyer's premium and platform fee. This amounts to 13% for paintings, drawings, graphic works and sculptures and 20% for photographs and all other items. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.