(Stribach bei Lienz 1868–1926 St. Justina bei Bozen)
“Auferstehung”, 1923, first draft for the painting “Christi Auferstehung” (Kirschl M607 – in possession of the Tiroler Landesmuseum Ferdinandeum, Innsbruck), oil on cardboard, 71.5 x 101 cm, framed

Heinrich Hammer, Albin Egger-Lienz, Tyrolia Verlag 1930, page 287 (according to Kirschl the specification of ownership and the measurements are incorrect)
Wilfried Kirschl, Albin Egger-Lienz, 1868–1926, Das Gesamtwerk, Edition Tusch, 1977, page 571, M608, ill. page 420
Wilfried Kirschl. Albin Egger-Lienz. 1868–126, Das Gesamtwerk, vol. II, Christian Brandstätter Verlag 1996, page 571, M608; ill. vol. II, page 420; compare also ill. page 421, 422 and 427 (colour ill. “Christi Auferstehung”, M607)

Label on the reverse:
Künstlerhaus Wien 1925/669

Our work is obviously identical with the work which was exhibited and which is registered in the catalogue: Kollektiv Ausstellung Albin Egger-Lienz / Clemens Holzmeister, Künstlerhaus Wien, 1925, cat. no. 54 – draft for “Christi Auferstehung” (see Kirschl vol. II, “Ausstellungen und Ausstellungsbeteiligungen” page 638–639 and page 745 – report about the exhibition: E’s exhibition occupied the whole ground floor of the Wiener Künstlerhaus. Holzmeister showed his works on the first floor ...

Provenance:
Collection Clemens Holzmeister(1886–1983), Hallein
Sale Galerie Hassfurther, Vienna, 31 March 1984, lot 18, colour plate 6
with Kunstsalon Kovacek, Vienna, Stallburggasse
with Galerie Magnet, Völkermarkt (label on the reverse)
Private collection, Vienna

[...] A religious experience is unique. A second iteration of the same experience is necessarily imitative and bereft of value, let alone a tenth iteration. The “religious” alone saves me from superficiality and decadence.

Egger-Lienz – from a letter to Otto Kunz

Only very lofty universal thoughts have produced art that is useful to mankind. Pure, unpretentious religious concepts were necessary to produce the greatest sculptural art, that of the Egyptians. Their approach was rooted in a cosmology that dictated all aspects of life. Their artistic gaze focused on the universe. [...]

Egger-Lienz –pencil note (Kirschl, Volume I)

Egger-Lienz in letters to his sister Maria about the collective exhibition at the Vienna Künstlerhaus, 1925 – (Kirschl Band II):

“... This is the greatest success I have ever experienced, including the financial aspect. Four parties were given in my honour. In the Ministry of Foreign Affairs I was given a tea, where the most influential figures, the Federal Chancellor, the Minister of Education and all the other important people, took part. I sat at a separate table, alone, next to the Federal Chancellor, the Minister of Culture and the Chancellor‘s wife. Hainisch, The President of the Republic of Austria, opened my exhibition (at his own request). [...]

[...] A beautiful speech in my honour by the President of the Artists‘ Cooperative and the Minister of Culture consecrated the event. Also, Prs. Hainisch, the President of the Republic, spoke, etc. What would our father say? ---
All the critics, as agreed, are united in their appreciation of my art and place their greatest hopes on a new era of art.”

“Of course, it was a brilliant success. 12 pictures were sold and more. --- I enjoyed great success in Venice, Milan and Salzburg, but in Vienna it exceeded my highest expectations.”