Tea Kitchen. (25.0 cm by 34.0 cm)
Aquarelle 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.

This painting has been pH buffered and ultrasonically encapsulated

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Alter Werderthor Wein (The Werder Gate) (22.5cm by 20.9cm)
Aquarelle 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.

Informal dining room. (25.0cm x 34.0cm)
Aquarelle initialed "AH" of the late period. Details similar to A37. Part of the storyboard set. Annotated on the back of the painting by Hitler.
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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 M・chen 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."72

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 ¡ª from May 1913 to August 1914 ¡ª 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. (21-25)

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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."

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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 WþÉrl, 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

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Aquarelle 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 F・rer 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".

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Aquarelle 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 S・terlin script on the reverse of the postcard.

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