Tag Archives: Hermann Radzyk

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Hermann Radzyk painted the Canal Grande in Venezia in 1910 – where?

Just after having finished his studies at the Königliche Akadamische Hochschule der Bildenden Künste in Berlin, my grandfather Hermann Radzyk and his wife Helene travelled to Venice. My grandparents were a newly married young couple then.

My grandfather painted “Canal Grande, Venezia 1910”, signed Hermann Radzig-Radzyk; owned privately.

Hermann Radzyk sold the picture to the cousin of his wife Helene; perhaps it was also a gift within the family.

Where was the easel? I looked for a garden along the Canal Grande using Google Maps, but without result. I knew, more systematic searching is needed to find the location of the easel.

 

Later I located the place, where my grandfather put down his easel in 1910

One afternoon in December 2025, I searched using Google maps and found that my grandfather’s easel stood on the Fondamenta del Traghetto San Maurizio looking across the Canal Grande at the palaces next to the Rio de San Vio.

Let me tell you, how I found out, where my grandfather had put down his easel.

  • First, I looked for something typical on the picture; well, what about the bridge just before the side channel enters the Canal Grande?
  • Next I followed the Canal Grande on its long course (wiki entry for Venecia says, it is 4km) to find the side channels with a bridge near the mouth. Voilà, a bridge near the mouth… that fits for the Rio de San Vio.
  • Across Canal Grande, I notice a platform. It is called Fondamenta del Traghetto San Maurizio. This is the platform, where my grandfather painted, as becomes clear by analyzing Google Street Views.

Look at the picture of my grandfather: The platform, where he stands, ends with a house that  has a door arch and a bricked white edge. Google Street View today shows a  house with a door arch and a bricked white edge, what a good match. Well, something like door bells have now been added next to the door, and the dark red colour of the wall has become brighter… but more than a hundred years have passed since then. The stone columns of the railing still have the same form as in 1910. Sure, the easel stood on Fondamenta del Traghetto San Maurizio.

What about the palaces that my grandfather painted across the Canal Grande next to the Rio de S. Vio? Have they changed much? No, they can be identified on Google Street View today, including the garden between them.

The first two houses just next to the mouth of Rio de S. Vio have practically not changed since 1910. The first house still has an oriel and a window with two arches on the first floor; its colour has become more yellow today. The structure of the second house is also unchanged: Still the same arched gallery just above the water, the two side wings framing the steps to access the Canal Grande, the arched window lines with balustrades on the two upper floors. Just the colour has changed, the house is now cleanly white.

From the Fondamenta, Google Streets View provides a second panoramic view which allows to look more into Rio de S. Vio and more upstream beyond the garden.  Street View shows no sun blinds above Rio de S. Vio; my grandfather had painted two sun blinds here; may be he painted on a hot summer day, and the Google Street View photographers were here on a less sunny day. The garden is  also on the picture of my grandfather, and the houses behind the garden can be recognized still today.

The second focus of Google Street View makes one major change clear: My grandfather had painted steps providing access to the channel; they have disappeared today; they have been replaced by a continuous railing. When virtually turning around with Street View, I can see that boats on the Canal Grande are now accessed on the opposite side of the Fondamenta del Traghetto S. Maurizio using a wooden catwalk.

 

The history of the picture “Canal Grande, Venezia, 1910”

The picture of Venice is owned by a distant cousin of mine (let me call her Cathy). A cousin of us (let me call him Hans) told Cathy, who Hermann Radzig-Radzyk was: “Hermann Radzyk (who signed as Hermann Radzig-Radzyk) was an artist in our family and the grandfather of our cousin, Petra. His wife (and Petra’s grandmother) was Helene Radzyk. Helene and your grandmother were cousins; they were friends and went to school together, in Lüneburg; Helene’s father was the director at the agriculture school. Your grandparents either bought the picture from Hermann and Helene Radzyk, or they received it as a gift.”

I visited Cathy a year ago. It is wonderful to meet (even distant) relatives for the first time and to discover similarities such as the same curls in our hair, similarities that remain though it was our grandmothers that were cousins.

We took the picture of Venice from the wall. This is how I found out that it was painted in 1910.

My cousin Cathy always thought, her grandparents had bought the picture as a souvenir, when travelling to Venice as a young couple. But no, it was painted in the family, as our cousin Hans had told her.

While Cathy lived in the Federal Republic of Germany, her grandmother lived in Perleberg in the former GDR; the painting of Venice was with Cathy’s grandmother, in Perleberg. When Cathy’s  grandmother died in the 1960’s, Cathy travelled to Perleberg to settle the estate. An attorney told her that she had no right to the inheritance, because she had left the GDR as a student. “Okay, nothing to be done”, she said, ” but could I then just take the family baptismal bowl with me, as in our family, we have the tradition of engraving the name of each new-born child on it.” “Are you pregnant?”, the attorney asked. “Yes, I am expecting a daughter”, Cathy answered. “Well then”, the attorney answered, “you can renounce the inheritance in favour of your unborn daughter, as she did not leave the GDR on purpose.” And that is how the picture of my grandfather came to the Federal Republic of Germany and into Cathy’s house.

 

My 40-year-old memories of Venice – perhaps I will return one day

I was in Venice in May 1987, almost 40 years ago. At that time, I wrote a diary that I am looking at now. I read that after having arrived at the train station, we took the Vaporetto along Canal Grande to Academia to get to our hotel Americano in Calle Nuova San Agnese. Google Maps tells me that Calle Nuova San Agnese is just behind the houses and the garden that my grandfather painted in 1910. Well, 40 years ago, I did not know my grandfather’s picture, and nevertheless I was so close to it and to my grandparents. It is an almost transcendental feeling.

Perhaps I should return one day in order to consciously look at the Canal Grande that my grandfather has painted and to relive my memories of Venice from 40 years ago.

 

Sources:

 

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The book about the artist Hermann Radzig-Radzyk published

As the granddaughter of the artist Hermann Radzyk (1879-1945), I published the book about my grandfather’s life and work in September 2025. The editor is the Kultur- und Heimatverein Kleinmachnow e.V.

Als Enkelin des Kunstmalers  Hermann Radzyk (1879-1945) publizierte ich im September 2025das Buch über Leben und Werk meines Grossvaters. Der Herausgeber ist der Kultur- und Heimatverein Kleinmachnow e.V.

ISBN: 978-3-033-11258-2.

The cover shows the picture”Panne”, signed Hermann Radzig-Radzyk, painted between 1926 and 1928 in Belgium (North Sea beach).

Das Deckblatt zeigt das Bild “Panne”, signiert Hermann Radzig-Radzyk, gemalt zwischen 1926 und 1928 in Belgien (Nordseestrand).

 

The book is the result of my five years’ research following my grandfather’s footsteps

Five years ago, I started collecting information about my grandfather. For example I studied the family archive (a box with letters and documents), I visited archives in Berlin (found personnel records there), I contacted galleries and auction houses (again and again they sell paintings from inheritances), and I learnt from the Brandenburg Memorial Centre, when he died, namely on September 18 1945 in Sachsenhausen.

My grandfather primarily painted landscapes and cities. I wanted to understand where, I looked for the places in the internet and I travelled there. When I stood at the place, where my grandfather had created one if his paintings, I felt close to him, to my grandmother and to their daughter (my mother). For instance in Bohemia near the Schneekoppe or in Silesia at the Euldörfel and near the Silberberg viaduct.

In the book you  find more than 70 paintings by Hermann Radzyk and his biography(family, education, career as a teacher and artist). The introduction provides the historical context for his life and tragic end.

 

Das Buch ist das Ergebnis von fünf Jahren Forschung auf den Spuren meines Grossvaters

Vor fünf Jahren begann ich, Informationen über meinen Grossvater zu sammeln. Zum Beispiel studierte ich das Familienarchiv (eine Kiste mit Dokumenten und Briefen), ich besuchte Archive in Berlin (fand dort Personalakte), kontaktierte Galerien und Auktionshäuser (verkaufen immer wieder Bilder aus Nachlässen) und erfuhr von der Stiftung Brandenburgische Gedenkstätten, wann er gestorben ist, nämlich am 18. September 1945 in Sachsenhausen.

Mein Grossvater malte meist Landschafts- und Stadtansichten. Ich wollte verstehen wo, suchte die Ansichten im Internet und reiste hin. Wenn ich wieder einmal dort stand, wo mein Grossvater gemalt hatte, fühlte ich mich nahe bei ihm, bei meiner Grossmutter und bei der Tochter (meiner Mutter). Zum Beispiel in Böhmen bei der Schneekoppe oder in Schlesien im Euldörfel und am Silberbergviadukt.

Im Buch findet Ihr  mehr als 70 Gemälde von Hermann Radzyk und seinen Lebenslauf (Familie, Ausbildung, Beruf als Lehrer und Künstler). Die Einleitung stellt sein Leben und sein tragisches Ende in den historischen Zusammenhang.

 

For example I found the locations of the easel for the pictures of the Schneekoppe, the Euldörfel , and the Silberbergviadukt
Zum Beispiel fand ich den Standort der Staffelei für die Bilder mit der Schneekoppe, dem Euldörfel und dem Silberbergviadukt

Schneekoppe, probably/wahrscheinlich 1927 (see/siehe blog schneekoppe) 

 

“Blick in das Glätzische Land” 1923 (see/siehe blog euldörfel)

 

“Der Viadukt, Silberberg, Eulengebirge” 1924 (see/siehe blog silberberg)

 

May the paintings of my grandfather enjoy my family, friends, and many more interested readers
Möge das Buch meine Familie, Freunde und viele weitere geneigte Leser erfreuen

A family friend wrote in a letter to me in 2024: “I believe, your grandfather has never been as alive as he is now, when he has obviously taken possession of you. Enjoy it! … Marion would be happy, and since she can no longer write, I am doing it for her.” (Marion is the daughter of Hermann Radzyk, and she is my mother).

Eine Freundin der Familie schrieb mir im Jahre 2024: ” Ich glaube, Dein Grossvater war noch nie so lebendig wie jetzt, wo er offensichtlich Besitz von Dir ergriffen hat. Freu Dich dran! … Marion wäre glücklich und da sie nicht mehr schreiben kann, tue ich es stellvertretend.” (Marion ist die Tochter von Hermann Radzyk, und sie ist meine Mutter).

 

 

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Finding out, where Hermann Radzyk painted a market: Heydekrug

The “mysterious” market painted by Hermann Radzyk

My grandfather, Hermann Radzig-Radzyk, painted a market near a creek. He signed the painting, and he gave it neither a title nor a date.

Searching again and again, I found it was the market of Heydekrug, as this photo from about 1925 shows. 

Source: https://wiki.genealogy.net/Markt_in_Heydekrug, accessed in april 2025.  

Up to the First Word War, Heydekrug belonged to Eastern Prussia, now it is called Silute and is part of Lithuania (Litauen).

 

Two more paintings from former Eastern Prussia (now Lithuania)

Not far from Heydekrug, my grandfather visited Purwin (Nidden) on the Curonian Spit. The first painting is signed and dated to 1928; it has no title.

The second view of Purwin is dated to 1932. The title on the back says “Fischerhäuser auf der Kurischen Nehrung (Purwin), (fishermen’s houses on the Curonian Spit (Purwin).”

Very similar postcard views can be found on https://www.bildarchiv-ostpreussen.de/ (numbers 46466/7 and 130909).

 

How did I find the market at Heydekrug?

Let me tell you, how I found, where my grandfather had painted the market.

In the beginning, I had absolutely no idea, where this market could be. Perhaps in Belgium? In Belgium, I looked for markets on old postcards – without success.

Independently, I wanted to know, what paintings my grandfather exhibited at the Grosse Berliner Kunstausstellung (Great Berlin Art Exhibition). I checked all catalogues from 1910 up to 1945. For 1932, I found the painting “Marktschluss in Heidekrug (market closure at Heidekrug)”; it had the number 239. I remembered the painting of the market that I had not localized so far. Is this perhaps the market I am looking for?

I searched for “Heidekrug” on googlemaps and found a village with this name east of Berlin. But Heidekrug east of Berlin had no market near a creek. I looked for old postcards of Heidekrug; no, my grandfather’s market was not here. I search again and again for “Heidekrug”, and once, by chance, google search decides to show the genealogy Website with HeYdekrug to me. Could it be that there are two ways to write “Heidekrug”? Now, I search for “Heydekrug”, and this time, the genealogy website comes up with the old postcard that shows the same houses that my grandfather has painted. 

 

I feel like the three princes of Serendipity: The painting of the market – no idea from where. The catalogue of the Grosse Berliner Kunstausstellung – found one painting with the title “Marktschluss in Heidekrug”.  Heidekrug near Berlin – not a good match. But Heydekrug on the genealogy Website for descendants from former Eastern Prussia – this is it!

Heydekrug, now called Silute, in Lithuania is located on  the creek Sysa. The Sysa is navigable up to Heydekrug/Silute and from here, it is possible to get to the Curonian Spit by boat. 

Perhaps, my grandfather painted the market, when he was travelling to Purwin and the Curonian Spit. He probably had to stop at Heydekrug; it was a train stop on the route from Königsberg to Memel. From Heydekrug, he took the boat to get to the Curonian Spit and to Purwin.  

 

The Curonian Spit – a popular spot for artists

The Curonian Spit (Kurische Nehrung) was a popular spot for artists. At Purwin (a district of Nidden), the guesthouse Blode started to be visited by artists in 1867. In the beginning of the 20th century, members of the Brücke group stayed here, amongst them Max Pechstein. Thomas Mann owned a house at Purwin, where he spent his summers from 1930 to 1932.  Google images is full of paintings that Max Pechstein has made at Purwin. In addition, I found the PDF reprint of the Landsmannschaft Ostpreussen with paintings of various other artists such as Corinth and Mollenhauer.  

Popular spots of artists attracted my grandfather again and again for his study tours (“Studienreisen”). I believe he looked for contacts and discussion partners. The PDF of the Landsmannschaft contains a photo of the artists’ corner in the guesthouse Blode, where my grandfather might have joined the conversations between artists.   

Let us look at my grandfather’s paintings again. The house, the pine tree and the fence on the right hand side of the fist painting of 1928…

… appear also in the middle of the second painting of 1932, just from a different angle.

In the year 1930, Hermann Radzyk gave two paintings from Nidden to the Grosse Berliner Kunstausstellung: “Fischersiedlung (fishermens’ settlement” (number 331) and “Am Nidderhafen (near the port of Nidden)” (number 332).

 

Would it be an idea to travel to Lithuania?

Jörn Baford writes in the Kulturforum that since the 1990’s, Nidden (today Nida) on the Curonian Spit attracts tourists again and the house of Thomas Mann has become a cultural centre. Perhaps I should plan to visit Lithuania soon? It is another travel destination that my grandfather is pointing me to.

 

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Hermann Radzyk painted the church and the train station of Geising

In 1932, my grandfather Hermann Radzyk created two paintings at Geising in the Erzgebirge (Ore Mountains), south of Dresden. 

The first painting hangs in my home. At the back, it carries the title “Geising im Erzgebirge”, is signed with Hermann Radzig-Radzyk and dated to 1932. 

The second painting belongs to my sister. It has no title, is unsigned and undated. It shows the same church of Geising and must have been created in 1932 as well. 

The second painting has a daunting history. Let me tell you.

The painting decorated the living room of my grandparents in their house at Kleinmachnow, Haberfeld 5.

The photo of 1940 is from the wedding album that my mother assembled, when she, still called Marion Radzyk, met my father, Rudolf Peters. With her mother Helene Radzyk, she  arranges flowers, the painting hangs behind them. Furthermore her bust (she was then about 17 years old) stands in the corner. 

I came across the painting in the home of my sister. It had a sad look: No frame, dirty and damaged, some holes.  

In the Second World War, the house of my grandparents was damaged and surely this has caused the holes. After the War, Kleinmachnow was part of the Soviet Zone. When my grandmother died in 1953, my mother went to Kleinmachnow for the funeral. She described in her diary that she packed some of her father’s paintings and her bust in a bag and crossed the zone border to West Berlin without being stopped by the customs officers – luckily. I am pretty sure, this is how the painting of the Geising train station ended up in my mother’s house and later in our hands. 

I had the severely damaged painting cleaned and repaired by my gallery in Basel.

It shines again in fresh colours. Only now I take notice of the two ladies next to the bridge, my grandmother Helene with her daughter Marion – my mother.

 

How did I find out that not only the first painting (with  the title), but also the second painting (without the title) is from Geising?

The first painting carries the title “Geising im Erzgebirge”. This was easy. The old postcard illustrates my grandfather’s perspective with the mountain Geisingberg north west of the small city.

Source: Mail by the historian of Geising from May 8th 2024

The second painting carries no title. I guessed that the church is also at Geising. Googling, I found the postcard that clearly confirmed my guess.

Source: Ansichtskartenlexikon, Stadtpartie, Bahnhof: Geising-Altendorf (Erzgebirge).

Consequently, I planned a stop at Geising, and end of April/beginning of May 2024, I booked a room in the hotel Ratskeller at Geising to look for the paintings.

 

Where did Hermann Radzyk put down his easel at Geising?

Let us tackle the first painting – church and mountain Geisingberg.

His easel was higher and more to the left than my photo below; between him and the village was a field with a footpath and a few small trees. Now the field is covered with newly built houses, and there are gardens with big trees. 

I walked uphill between the houses, and up to this point, I could see both the church and the mountain Geisingberg in the background. Going farther uphill to get to the location of the easel, the church and the mountain disappeared behind the houses, the gardens and the large trees. Today, Hermann Radzyk could no longer paint his perspective today. 

Also the second painting with the train station is no longer possible today.

The train station looks different, the church in the background can barely be seen. The bridge is much larger. A busy road coming from Altenberg crosses the railway here. I am standing a little too low; my grandfather stood to the right of the bridge on the footpath leading to the mountain Geisingberg. 

On the hiking map, I marked the locations of the easel.

Source: Osterzgebirge zwischen Dippoldiswalde und Teplice (Teplitz), Wander- und Radwanderkarte mit Reitwegen, 1:33’000, Herausgeber: Sachsen Kartographie 2022.

The easel for the first painting (red circle) stood above Geising looking north-west towards the church and the mountain Geisingberg. The easel for the second painting (purple circle) was at the entry of the road from Altenberg to Geising above the bridge, looking south east towards the mountain called Hutberg. 

Geising is located 45km south east of Dresden, in the Erzgebirge (Ore Mountains) and at the border to Czekia. I have marked Geising with a red circle.

 

Why Geising, were there more artists at Geising?

While strolling through Geising, I met many friendly citizens. They noticed my camera and asked me: “What are you doing?” When I showed them the paintings of my grandfather, they gave me hints and told me about other painters at Geising.

Very proud they are of Heribert Fischer-Geising (1896-1984) From 1919 to 1961, he lived at Geising, and he integrated the city in his name. Not far from Geising, the castle Lauenstein hosts an exhibition of his paintings. Fischer-Geising painted landscapes and portraits. He was not only an artist, but also a ski teacher that won medals. For one of his  paintings he chose about the same view as Hermann Radzyk – church and mountain Geisingberg in the background.   It could well be that my grandfather met Heribert Fischer-Geising. 

Ewald Schönberg (1882-1949) was born at Geising and lived at Dresden. His style is “New Objectivity”. In particular, I like the red horse that had escaped the master. He is about the same age as my grandfather and, like my grandfather, by his first education he was a carpenter. Perhaps they met at Geising. 

In addition, the citizens mentioned Curt Querner (1904-1976). He was born in a village near Geising. Also his style counts as “New Objectivity”. One of his self portraits is in the National Gallery at Berlin. He is younger than my grandfather.

 

Exploring Geising, another place that my grandparents attracted my attention to

I felt welcome at Geising. The hotel Ratskeller is modest and cosy.

The owner is friendly. He welcomed me with a smiling breakfast egg, how kind.

For dinner, the owner serves beef olive with red cabbage and three huge dumplings. With it, I have a dry cuvée from the Elb valley. I eat on the terrace. The meal is well cooked, but I leave the third dumpling, it was too much. The owner understands me and adds: “I always serve three dumplings on the terrace, I do not want passers-by to think that I am stingy”. 

Near the station, I found the map of Geising with the main business addresses. 

Sport Lohse was very useful. I had forgotten my thermos flask, and Sport Lohse had flasks. The lady behind the counter recommended the Sigg flask to me. Oh, yes, I know Sigg. It is a Siwss company. I bought a new black Sigg thermos flask in the middle of the Ore Mountains. I tell you, this flask is of high quality. Still after a day, my tea is warm.  

The Nestler Café is another recommendation on this panel. Nestler has his pastry shop just next to the train station.  

Father Nestler asked me: “What are you doing here?” I walked around the train station behind his pastry shop, where there were sheds, not really a place for tourists. He was assembling a blue plastic flower corner ordered over the Internet; the assembling did not seem to be as straightforward as expected.  He listened to me with great interest. “Oh”, he said, “we have old photos of the station, come and see us tomorrow, we are closed today.” 

The next day, I met the junior owner of the Nestler pastry. He explained the history of the railway and the train station to me: The narrow-gauge railway was built through the Mützigtal in 1890, from Dresden to Geising. Here, the train ended in a terminus. Only in 1923, the engineers were able to extend the railway to Altenberg above Geising. The ascent was steep and could only be overcome with lighter wagons. A friend of mine told later me that for the ascent of up to 36 promille, special locomotives of type 84 were used.

In 1938, the railway was upgraded to broad gauge, and the station hall was built, as this postcard shows. The Nestler shop later settled in the small house to the left of the train station.

Source: akpool.de

The railway coming from Dresden leads along the mountain Geisingberg. A ditch had been carved along the mountain to allow the train to arrive at Geising without steep ascent.

This is, how the rails hidden in the ditch enter Geising under the bridge (the older version of the bridge is on the painting of my grandfather).

The construction of the railway in 1890 promoted the emergence of tourism. I am sure that my grandparents took the narrow-gauge train from Dresden to Geising. 

Let us now explore the small city and the mountain Geising.

 

The town church of Geising

 The centre of the small city of Geising is the Lutheran town church (Stadtkirche).

A panel explains the history of the Stadtkirche: In 1513 it was consecrated by the abbot of near Altzella. In 1539, the Reformation was introduced to Geising. In the years 1689/90, the church was enlarged.

The main altar is baroque. One angel hangs above the pulpit and the second angel is above the baptismal font.

 

The well preserved medieval city center of Geising

Ore mining was mentioned here  already in 1371. Iron, silver, tin was explored. Two cities emerged, Altgeising to the left of the creek Heerwasser and Neugeising to the right of the creek  Both parts of Geising received the town charter in the 15th century and joined later to become Geising. The city layout has remained unchanged since the 16th century.  The center is well preserved and is under monumental protection. 

I stroll along the streets. Old half-timbered houses make the small city worth a visit. I smile, when I notice the old Trabbie car of GDR times. It stands in front of the Saitenmacherhaus (the name alludes to the producer of strings for music instruments).

Each historical building carries its panel “Häusergeschichten” (house stories alluding to house History). Klaus Meissner has created (and signed) them based on the recordings of the chronicler Werner Stöckel. 

The “house stories” tell us that the Saitenmacher House was built in 1490, probably by Hieronimus Knorr. 1686/88, the next owner Wendisch enlarged it. Later it was the workshop of tinsmith Schütze, followed by four generations of the family Zimmerhäckel, also tinsmiths. After 1907, the house was owned by Mr Saitenmacher who gave the name to the “Saitenmacher house”. Mr Saitenmacher produced cartwrights, among other things, sledges. After 1945, the family Schlatter continued to work as cartwrights.  Now, the family Kadner runs a flower shop. What a long history. Owning a house is only temporary; someone else will take over later.

Kadner seems to be a common name here. Also the locksmith is called Kadner. Various houses are decorated with frescoes,

It is a charming little city. I follow the narrow streets to reach the train station once more.

 

Exploring the mountain Geisingberg and the geology of the place

From the train station, I start my ascent to the mountain Geisingberg. I look back to Geising and the mountain Hutberg above it.

Now I am in the forest and look north, where the Ore Mountains level out towards Dresden.

The mountain Geisingberg consists of basalt (Peter Rothe, p. 98). In the beginning of the 20th century, mining basalt started. It was halted in the 1930’s, because the citizens feared that their mountain would totally disappear. The former quarry is now partially filled with water.

On the top of the mountain Geisingberg, I pay one Euro to climb the Louise tower  and look down to Geising. 

I stand on the tower platform with two muscular men, between 30 and 40 years old. They share their views with me. I wish that the integration of the two parts of Germany would have been smoother.

Walking back down, Geising and its church come closer again. 

 

Friendly and welcoming citizens at the Maibaum Aufrichte (setting up the may pole)

In the late afternoon, I attend the set-up of the Maibaum (may pole) above the city. 

While I am eating my pork skewer, the citizens ask me to join them at their table. Soon I sit amidst a group of retired teachers and their pupils, some of them have become teachers now. They wanted to know, whether I have solved all the puzzles about my grandfather. Furthermore, they tell me that I should contact the city historian that has created all he house story panels to learn more about the history of Geising.

With the historian, I make contact later. I might return to Geising to meet him and to find out more about Heribert Fischer-Geising or Ewald Schönberg, the painters that are also related to Geising.

 

Thank you again

Thank you again, my grandparents, you have taken me to another wonderful corner of Germany that I would have never explored without your direction. My heart is filled with new impressions. I continue my way to Dresden and to Berlin. 

 

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Wasserburg am Inn – looking for two more paintings of Hermann Radzyk

It is September 2024. After having found two paintings of my grandfather at Neuburg am Inn, I am exploring two more of his works painted at Wasserburg am Inn, about 60km east of Munich. 

The first painting of Hermann Radzyk is owned by me, it has no title, no date and no signature. Initially, I assumed that it has been painted in Dalmatia.

The second painting I received from the gallery Dannenberg (Berlin) in spring 2024: “Alte Stadt am Flusslauf” (old city on the river), signed and dated to 1931. The Dannenberg painting clearly shows the same church and fortress as my painting above. 

Googling, I looked for the old city with the river and found it: Wasserburg am Inn. Hence both paintings are from Wasserburg am Inn. Probably my painting was also created in 1931. Perhaps, this painting was at the Great Exhibition of Berlin of 1933, with the title “Wasserburg am Inn” (number 309). 

Now, early in September 2024, I have booked a room in the friendly hotel Huberwirt am Kellerberg above Wasserburg to look for the locations of the easel.

Easy to find the location of the first painting: The easel stood south of the city and across the Inn on the Uferweg (riverside path). The water front line has not changed much: The balconies and the colours of the houses are largely the same.

This rock looks like a convenient place to put down an easel; perhaps my grandfather’s easel was here.

My grandfather painted the second view from the path leading up to the Kellerberg, but trees hide the view now. This was the best approximation that I could find. I am little too low and a little too much to the left. The house with the chimneys does no longer exist.

The popular “magnificent view” point on the Kellerberg provides a good impression of the city of Wasserburg surrounded by the course of the river Inn, with the church and the castle in the background that my grandfather has painted.

The river had cut a loop into the moraine landscape of Bavaria near Munich. The old city crouches on the resulting half island, 1km long and 400m wide. The fortress protects the land access that is only about 150m wide. 

On googlemaps, I have marked the positions of my grandfather’s easel, the first one across the river Inn (“river front painting”) and the second one on the path to the Kellerberg (“overview painting”).

Other painters have liked the river front view as well. For example, I found Willy Scholz on the flee market near the old city cemetery (Altstadtfriedhof).

Mission accomplished – both paintings found. Now let us look at the charming and well preserved city of Wasserburg am Inn that my grandparents took me to.

 

Exploring the old city center with churches and Town Hall

The medieval city center of Wasserburg has been largely preserved. It was not destroyed in the Second World War. It is a pleasure to stroll through the streets that are less crowded with tourists than other places in Germany.  I give a few insights – check the city website to see more of the medieval sights. 

After having crossed the river Inn on the bridge below the Kellerberg, I access the city from the south, using the Bridge Gate (Brucktor). 

Two guards (Scharwächter) carrying the coats of arms of Bavaria and Wasserburg protect the gate. The fresco was painted in 1890. The artist, Heinrich Georg Dendl, was born at Wasserburg in 1854.

This is the view of the gate from inside the city, from the Bridge Lane (Bruckgasse). The church to the right belongs to the hospital of the Holy Ghost (Heiliggeist Spital). The hospital was active for about 600 years, from the 14th century until 1971. 

Mary’s Square (Marienplatz) is the center of the city, with the double arched Town Hall (15th century) and the Church of Our Lady (Frauenkirche; 14th century, inside rococo from 1750).

Across the Town Hall, the building of the noble family Kern (Kernhaus) presents its late early rococo façade from the 18th century that covers two medieval houses one of them being a hotel today.

To the east of Mary’s Square, the Tränkgasse leads towards the former gate “Tränktor”. In front of the gate, horses were fed and watered, as the fresco illustrates (“tränken” means “to give water to animals”) . Horses were needed to pull ships upstream on the river Inn.

Leaving Mary’s Square to the west, I enter the Smith Lane (Schmidzeile) with more medieval houses and with this noble shop selling dirndl dresses.

On the hill, the duke’s castle marks the land access to Wasserburg. It originates from the late 11th century and was acquired by the Bavarian Wittelsbacher family in 1247. The stepped gable is late gothic.

Behind the castle hill, St. James’ Church exceeds the houses of the popular Inn water front line, as we see on the two paintings of my grandfather. The church was first mentioned in 1255 and was reconstructed after a fire in the beginning  of the 15th century. 

Gothic vaults inside.

The citizens had their reserved seats. Carrier (Spediteur) was a profession in demand at Wasserburg.

The baroque pulpit was created by the brothers Zürn around 1650.

The history of the modest baptismal font is unknown; it could be of gothic origin, but this is not proven. 

From the castle hill, there is a nice view of the roofs with the rocks of the Inn loop in the background. 

The citizens have set up cosy balconies. 

The red tower is part of the city wall.  

Under the vaults, I have delicious Bavarian dumplings.

 

Walking around the city on the river banks

The sculpture path leads along the Inn around the eastern edge of the Wasserburg half island. I enter the path behind the Bridge Gate. Charming small gardens and a great view of the river.  

The artists association of Wasserburg am Inn (Arbeitskreis 68) set up the sculptures along the path in the year 1988.

For 135 years up to 1988, the Inn ferry had transported people from Wasserburg across the Inn to the once popular restaurant “zum Blaufeld”. This is, what the explanatory panel says. The restaurant was on the northern side of the river loop that has no bridge. 

The convex river bank across consists of rocks covered by forest. 

In earlier times, the rocks were not covered by trees. The Inn continued eroding the convex river bank and accumulated the material in front of Wasserburg (this suburbian area is called “Gries”). The construction of hydro power plants along the Inn stopped the erosion and trees started to cover the rocks.  

Near the red tower, I enter the city again. 

 

Visiting the museum of the city (Museum Wasserburg)

This is the Herrengasse (“Sirs Street”) running parallel to Mary’s Square. The pink late gothic house hosts the Wasserburg museum (Museum Wasserburg).

I want to learn more about the history of the city and enter.

Two traffic routes crossed at Wasserburg: First the Inn which connected the trade between Italy, Austria and Hungary and second the salt route from Reichenhall (rich in salt) to Swabia and Franconia (lacking salt). Up to the middle of the 19th century, Wasserburg flourished. Trade and shipping created many jobs in the city, such as shipbuilders, skippers, boatmen and carriers, accessories (ropes, chains, anchors etc), loading and unloading, various craftsmen or hospitality. Wasserburg was in addition a naval port, and noble weddings and parties were celebrated on vessels here.

In the middle of the 19th century, the arrival of trains made the Inn shipping route redundant and Wasserburg lost its importance. Now out of focus, the medieval city was luckily preserved in the Second World War. 

The collection of music instruments is rich, there are virginals, fortepianos and a large collection of harps. 

Old furniture illustrates, how citizens and farmers lived in medieval times – some pieces are gothic.  

Workshop setups present old professions such as chandlers. 

I smile at these “cobble toll” regulations of 1925. A cart with a horse or any other horn cattle was charged 10 Pfennig. Smaller cattle, such as calves, foals or pigs were charged 5 Pfennig. Herds and flocks of them costed up to 4o Pfennig.

Talking about traffic regulations at Wasserburg: I noticed that this medieval city has no pedestrian areas. Cars drive in the streets and are parked all over. Traffic is, however, not abundant. The medieval city on the half island is small. I believe, the people of Wasserburg still live here and want to access their places of living also by car. Its charm has remained a secret uncovered by not too many tourists from abroad.  

 

What a nice city, thank you, my grandparents. The weather changes, and I say good-bye 

By his paintings, my grandfather Hermann Radzyk made me visit another beautiful place in Germany. Now I understand, what my mother (his daughter) meant in her diary in the year 1967: She described her thoughts, when she planned our car tour through Germany. She considered including Wasserburg am Inn as being worth a visit, but rejected it, because it did  not fit into the itinerary she had prepared. She must have been here with her parents in 1931, then 15 years old. Well, now, in 2024, I was at Wasserburg, and I felt close to my grandparents and their daughter – my mother. 

After so many sunny late summer days in Berlin, Poland and Slovakia, the weather changed on Monday, September 9th: Waking up in the morning, I see clouds hang in the moraines around Wasserburg. 

Summer is over, and autumn has arrived. I do not feel like travelling in the rain. These clouds look like a lot of rain for a longer period ahead. 

I decide to say good-bye to Wasserburg am Inn. I pack my car and about 500 kilometers and some six hours later, I am back at home. 

From at home, I observe heavy rainfall hit south Poland, Slovakia and east Austria – I feel sorry for the areas affected by flooding, and I cherish my good travel  memories.  

 

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Hermann Radzyk painted at Detwang – I looked for one painting and found two

In August 2024, I settled in the hotel Schwarzes Lamm at Detwang near Rothenburg to find the noble manor that my grandfather had painted in 1942, 82 years ago.

Hermann Radzyk titled his painting on the back as “moated castle at Dettwang (Tauber valley near Rothenburg)”.

It is more than a manor, it is a small castle.

 

Found the manor, it is still called “Schloss Detwang” today

I found the manor my grandfather painted. Even the fountain is still around, though no longer in use. It has been pushed to the side and filled with earth. The sky on my photo is similar, light blue with a touch of white clouds.

Instead of a cart I find a car parked nearby. The small house in front of the castle has been removed. The street has been paved, and be careful, you are not allowed to stop everywhere.

The castle is a gothic manor from the 13th/14th century and now carries the number “Detwang 29”. In former times, it was surrounded by a moat. This is why my grandfather called it “moated castle”, though it was no longer surrounded by water, when he painted it in 1942. 

I walk around the small castle with its garden. The wooden fence has been modernized. 

The above photos I took with my smartphone, and the colours convey a similar impression of the light as the painting of my grandfather.

My Nikon camera leaves a different impression, there is more contrast. 

I like the red roses surrounding the windows – there are more windows here today. Does Dornröschen live in this castle? “Sleeping beauty” is called “Thorny Little Rose” in German. 

The red rowan berries repeat the colour of the red tiles. 

My grandfather wrote “Schloss Dettwang” with two “tt”, not “Detwang” with one “t”. I know, he was always precise; I looked for old postcards, and some carry the name “Dettwang”.

Easel of the castle or manor found, mission accomplished.

 

Easel found, next I focus on sightseeing, but… surprise, surprise – I find a second painting

 Next, I explore the pretty village Detwang. I follow the signs directing me to the Tauber river and the old bridge of Detwang.

The sun reflects in the water. 

I take a photo of the bridge from the other side (did you notice the church tower hidden behind the trees?), and I continue my village tour without thinking any further. 

A week later, I am at Berlin. I look at the photo of the bridge of Detwang, and I frown. Have I not seen THIS BRIDGE before?

With me, I have a photo of this unsigned and undated painting of Hermann Radzyk that hangs in my guestroom. Look at the arches of the bridge and at the church tower behind the trees.

This IS the old bridge of Detwang. What a surprise. I found the location of a second painting at Detwang, and surely, my grandfather painted this bridge also in the year 1942, like the castle.  

Up to now, I had looked at this bridge over and over again without knowing, where to search for it. Now, I will return to Detwang to reproduce the angle and perhaps the light impression that my grandfather captured. For me, the colours of the bridge painting are similar to the colours of his “moated little castle of Dettwang”.

 

Let us now continue our tour and explore the beautiful Romanesque church of Detwang

The church tower that hides behind the trees belongs to the Romanesque Peter and Paul church of Detwang. 

It is assumed that the church was built in the 12th century, with later additions (brochure of the church, p.3). The choir was removed in the 14 century and replaced by the small house; it was the oratory of the convent of Benedictine nuns and later became an ossuary. 

On the cemetery,  village citizens water the flowers. Many tomb slabs carry the name Stellwag, this seems to be a common name here. One member of this large family looks at the painting with the moated castle with great interest. He knows the man living in the castle. “Everyone”, he says, “knows everyone in this village. Detwang is fortunately much more quiet than Rothenburg, which in summer is taken over by so many tourists.” I send him the photo of the painting.

I return in the afternoon to see the treasures inside the church. I buy the brochure of the church – reading helps to see more. 

It is a solemn atmosphere. Romanesque with later additions, such us the gallery of the 17th century and the wooden ceiling of the 19th century. The baptismal font is from 1720 (brochure, p.3f).

There are three gothic altars in front. Two altars stand in the niches, and, in the choir, there is the altar of  Tilman Riemenschneider, the primary treasure in this church. It is the crucifixion altar that must have been created between 1510 and 1513 (there exist no records about the date of creation).

Probably the altar was brought here from a former funeral chapel at Rothenburg. Riemenschneider did not create the altar for this small choir; some figures had to be cut away to make the altar fit (brochure, p. 9).

The crucifixion scene is in the middle. Riemenschneider has made it by himself. To the left of the cross are Maria, supported by Johannes, and more moaning women. On the right hand side of the cross, there is a group of men. In front is the well dressed Pharisee that seems to ruminate with the hand in his coat – he seems to be in doubt. The captain standing next to him looks up to the cross – he may believe that Christ is the son of God. Christ looks down to the moaning group around Maria. 

To the left is the Garden of Gethsemane, created by Riemenschneider’s workshop. The three disciples of Jesus, Petrus (with the sword), Johannes (with his book, the youngest of all three) and Jacobus are sleeping, while Christ is praying with fervour. The left side was cut off to make the altar fit. It must have shown Judas approaching the garden with the bailiffs and, in addition, some angels (brochure, p. 14).

To the right we see the Resurrection that has also been carved by Riemenschneider’s workshop. The grave is closed. One of the guardians is sleeping with the hat in his face, the second guard woke up; he is surprised and looks at what happens. The light blinds his eyes and he covers them with his hand.

The Predella has been lost. It might have shown the Lamentation (see brochure p. 10ff).

The two altars in the niches have also been transferred to here from other churches.

The late gothic altar in the left hand niche is from 1480/90. It shows martyrs surrounding Saint Catherine in the middle. I can also recognize Laurentius with his grill. In the Predella is Christ as the Man of Sorrows. 

On the altar in the right niche, also late gothic from 1500/1510, we see Maria with martyrs, amongst them to her left side stands Saint Odile (brochure, p. 20f).

The symbols of the four evangelists decorate the ribbed vault  in the choir (frescoes from early 14th century, brochure, p. 7).

I love the introverted face in the choir – it has been here since the early 13th century (brochure, p.6).

Let us look back into the nave. The frescoes in the window frames are baroque (brochure p.5). The organ has been built in the year 1989 (wikipedia entry).

The Saint Peter and Paul church stands just next to the castle of Detwang. I am sure that my grand-parents visited the church and admired the altar of Tilmann Riemenschneider 84 years ago. Their daughter, my mother, showed many gothic altars to me, when we travelled together in Germany. She might have been taught by her parents and she surely taught me. I love to visit churches that have a solemn atmosphere and contain wonderful works of art. 

 

Detwang, the village around the church, is the craddle of Rothenburg

Detwang in the Tauber valley is older than Rothenburg. Detwang was first mentioned in 976 as the “field” (wang) of Teto (wiki entry). Later Rothenburg became more important, and Detwang never grew much larger than it was in medieval times. Many old houses survived the war such as the historic hotel Schwarzes Lamm (Black Lamb), where I spent two nights with the friendly hospitality of a Hungarian family. It was originally built in 1804 and was later renovated.

Next to the Black Lamb is this Patrician house from the 16th century (wiki entry about Detwang).

The Pulverhaus (“powder house”) was a mill built in 1400 and  processed saltpetre. In 1744 it blew up, because the owner walked around in the building with a burning light. It was a dangerous location, there was another explosion in 1903, and in 1905 the saltpetre mill was shut down (panel in front of the house).

 

Quiet Detwang is worth a visit – there are less tourists here than at Rothenburg

Detwang is much quieter than crowded Rothenburg ob der Tauber, and it is worth a visit.

It is popular with campers. There are two camping sites at Detwang, one of them being called “Tauber Idyll”. It is booked out right now in the beginning of August. “Fully booked”, it says on the black board in English. The guests must come from far. 

From the camping site, I start my evening walk along the Tauber river that is lined with mills. I started to like this hidden village. Thank you, Hermann and Helene, my grand-parents, you have showed me another treasure that I would have never found without you.

 

Where are we?

The map shows, where we are. Now I talked about Detwang, an urban district of Rothenburg. 

In the next blogs, we will explore Rothenburg ob der Tauber (in Bavaria) and the Celtic Oppidum as well as the church of Lord (Hergottskirche) near Creglingen (in Baden-Württemberg). Nuremberg (Nürnberg) is located about 75km to the east of Rothenburg ob der Tauber.

 

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Hermann Radzyk painted the “Blick in das Glätzische Land” with Falkenberg (Silesia) in 1923

A hundred years ago, in the year 1923, my grandfather Hermann Radzyk painted the “Blick in das Glätzische Land (view of the Glatz district)” in Silesia (now Poland).

The painting is owned privately by a friend of our family.

This old postcard is a very good match. 

Source: Panoramy i widoki Sokolca, Sokolec – zdjęcia (polska-org.pl)

The postcard confirms, the painting “Blick in das Glätzische Land” shows Glätzisch-Falkenberg from the Euldörfel. 

The Euldörfel was a holiday resort located above Falkenberg (today Sokolec). The “lower” houses (pensions and hotels) of the Euldörfel stood on this slope above the valley. 

Source: Euldörfel-Schwarzwasser (Eulengebirge) :: Ansichtskarten-Lexikon

The houses of the “lower” Euldörfel spread loosely along the road leading uphill (across the photo from bottom left to middle right hand side); where the road turns, the “upper” Euldörfel begins (right hand corner of the photo). From here, it is about a half hour walk to the Hohe Eule (Welka Sowa), the highest peak of the Eulengebirge (Góry Sowie).

The Euldörfel  has mostly disappeared today. Just meadows and trees, where the houses were a hundred years ago.

 

In August 2023, I identified the approximate position of the easel

From the valley below the former Euldörfel and above Sokolec, I climb uphill on a steep and winding footpath that ends joining this comfortable hiking path.

This panel shows, what the hiking path looked like a hundred years ago: It was a comfortable road that was used by coaches and pedestrians to get to the Euldörfel. 

I imagine my grandparents and their daughter (my mother) walking along this road, while a horse carriage carries the easel, the canvas, the paint brushes and the oil colours. 

A little bit higher up, I find another panel. 

The panel shows two pensions of the former  “lower” Euldörfel, and they have totally disappeared today. Nothing but meadows here.

Where was the house with the shed and the two trees that my grandfather had painted in the foreground? Back at home I study this old postcard again, and I am pretty sure, the house in the foreground was at the turn of the road towards the “upper” Euldörfel (see red circle). 

Right above the turn, there was the famous pension called Müller Max Baude. Perhaps my grandparents stayed at the Müller Max Baude. Also this pension has disappeared.

Today, the view of the valley is hidden behind trees, as my photo shows. For this photo, I stand a bit lower than where the easel of my grandfather was (red circle on postcard).  

 

Geographical location of the easel 

On my Compass hiking map, I have marked the location of the painting. From the  viewpoint at the former Euldörfel, my grandfather looked south towards the village Falkenberg (Sokolec) with Saint Martin’s church. 

At the viewpoint, the map mentions “Murski pasterski” which means “shepherds’ walls”. However, I believe the “shepherds’ walls” were remains of the Euldörfel. At the time the map was created, it was perhaps not allowed to mention the German past with the Euldörfel. 

With googlemaps, I give the overall geographical localization of the painting “Blick in das Glätzische Land”.  

Source: Googlemaps

 

I needed several excursions to find the location of the painting “Blick in das Glätzische Land”

In autumn 2022, I am at Silesia for the first time to look for some paintings of my grandfather. I just knew, he painted somewhere in the county Glatz, now called Powiat Kłodzko. I settle in the charming hotel Palac Kamienec near the city Kłodzko.

The park of the Palac is romantic, particularly on a hazy autumn morning. 

On the first day, I drive north to Sokolec, look at Saint Martin’s church, and feel helpless. Will I ever be able to find the paintings? I am not able to recognize this church from the paintings.

A year later, in 2023, I return to Silesia. Sokolec with Saint Martin’s church attracts me again and again. I evaluate the valley above Sokolec. I start to suspect that the “view of the Glätzisches Land” shows the valley of Sokolec. However, at the viewpoint above Sokolec, I see only meadows and trees, no houses here, even no ruins. Around the Eulenbaude, still higher above Sokolec, I find a few houses; from here, it is not possible to see the valley and Sokolec (Falkenberg).

I look at Saint Martin’s church again and again. I see that the belfry is shorter than on the painting. I notice the panel that says, the tower had been destroyed during the war; it was rebuilt after 1945. Perhaps the belfry was higher before, and it is this church that my grandfather painted?

The landlady of the hotel notices that my grandfather had painted a red house next to the church in the valley. There is a red house next to Saint Martin’s church still today, she says, and it is on sale. This is what the red house looks like now; it may be difficult to sell it.

Finally, I solve the enigma; a few months later, in August 2023, I park my car above Sokolec (in the hairpin turn of the new main road leading to Rzeczka – see Compass hiking map).

Through meadows and trees, I walk uphill on the winding footpath, and I find the panels that show the houses of the former Euldörfel. Now I understand: Where I only see meadows now, there was the holiday resort Euldörfel a hundred years ago, and my grandparents were here in 1923. From here, my grandfather painted the house with the shed in the foreground, the village Sokolec, Saint Martin’s church and the mountains of the county Glatz in the background.  

The postcard confirms, the painting shows the view of Sokolec (Falkenberg) from the Euldörfel.

 

Source: Panoramy i widoki Sokolca, Sokolec – zdjęcia (polska-org.pl)

I am pretty sure that the easel stood at the turn of the road (red circle).

Another enigma of Hermann Radzyk solved – I feel close to my grandparents (that I have never met) and to their daughter, my mother. 

 

The area around Sokolec with the Welka Sowa is well worth visiting, also today

Though less well-known than the Riesengebirge (Karkonosze), the area around Sokolec with the Welka Sowa, the highest peak of the Góry Sówie, is worth visiting.

On Welka Sowa, the Bismarck tower has just been renovated. It shines in brilliant white.

I climb the tower and enjoy the view of the “Glätzisches Land”. The mountain in the middle (with meadows and forest stripes) is Niczyja (Neumanskoppe). Sokolec (Falkenberg) is located left at the foot of Niczyja. The mountains in the background are the Góry Stołowe (Heuscheuergebirge) that mostly belong to the Powiat Klodzko (County Glatz). The Góry Stołowe form the background of my grandfather’s painting “Blick in das Glätzische Land”.

By the way, behind Niczyja (former Neumanskoppe) is Sierpnica (Rudolfwaldau), where my grandfather painted the “Neumannskoppe” with the “Maria Schneekirche”  in 1919.

When hiking around the Welka Sowa, I hear the soft hissing sounds of the Poles around me. I do not come across any foreign tourists. The Poles ask me again and again: “What are YOU doing HERE?” I was the only non-Polish hiker. “Ah”, they said, when I showed them the photos of my grandfather’s Silesian paintings. 

Sokolec is a laid off small village with a friendly restaurant. The Oberza PRL commemorates “socialist” times, with the Trabbi…

… and with the menu that contains meals with a communist touch.

I found some lighter meals on the list – I liked those with fish and cabbiage. I visited the Oberza several times, when investigating the area, and I enjoyed the hospitality.

The panel on Saint Martin’s church at Sokolec thanks for the funds and the active support received by former German and present-day Polish inhabitants as “a symbol of comprehension and admonition for peace”. 

I wish that peace will prevail – now and in future.

 

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Hermann Radzyk painted the Schneekoppe (Sněžka) in 1927 and 1930 – from where?

My grandfather painted the Schneekoppe (Sněžka) in the years 1927 and 1930, almost a hundred years ago. Where did he paint them? Where did he put up his easel? Join me to find out.

 

Three paintings of the Schneekoppe (Sněžka, Śnieżka) by Hermann Radzyk-Radzig are known to me

This painting of the Schneekoppe is from winter 1930. It is named “Paradies der Schneeschuhläufer (the paradise of the snow shoe walkers)”, as my mother wrote in a letter to her best friend. I acquired the painting at Kleinmachnow near Berlin, from friends of the son of my mother’s best friend.

I like the somewhat expressionist style. 

In summer 1927, Hermann Radzyk painted the Schneekoppe twice. This aquarelle is owned by the Heimatverein Kleinmachnow. 

My sister owns another summer painting showing the same hut and the Schneekoppe.  It is unsigned and undated. I assume, it is from summer 1927 as well.

 

Where did my grandfather put up his easel to paint the Schneekoppe?

Where did my grandfather put up his easel? I first suspected, he put it up above Krummhübel (now Karpacz in Poland). I went to Karpacz and understood, the easel was not here (see Discovering Silesia: Karpacz with its churches and the Sniezka).

I started to google about the valleys south of the Schneekoppe, at Bohemia in Czechia. I found photos and compared them with my tourist map of the Giant mountains. I could identify the peaks and valleys near the village Petzer (Pec-pod-Sněžkou).

I conclude, my grandfather must have placed his easel above Petzer (Pec-pod-Sněžkou), either on Zahradky or on Vysoky Svah.

To understand, where exactly the easel was, I drive to Petzer in August 2023. I stay at the friendly small penzion Zákoutí at the very end of Pec-pod-Sněžkou, where the ski lifts and chairlifts to the surrounding hills start.  The owner of the pension gives me this winter postcard that illustrates the situation well.

The village Pec-pod-Sněžkou is located in the valley and on the (left) slope above the ugly hotel tower. North of Pec-pod-Sněžkou in the background is the Schneekoppe. South above Pec-pod-Sněžkou is an “amphitheatre” of four meadows: Under the label “Pec-pod-Sněžkou” is Zahradky (Lenzenberg), to the right follows the triangle of Vysoky Svah and then, behind it, Javor. To the left of Zahradky are the meadows of the Braunberg (Hnědý vrch). The “amphitheatre” of meadows south of Petzer is a skiers’ paradise until today. 

From my pension I walk up to the “amphitheatre” to find the place of the easel – and I identify two places. For the winter painting, the easel stood on Vysoky Svah below Husova Bouda and for the summer paintings it was on Zahradky near Chata Seibert – yes, the hut on my grandfather’s summer paintings still exists. Let us go to Vysoky Svah and Zahradky. 

 

The location of the easel for the winter painting of 1930

For the paradise of the ski shoe walkers, my grandfather put up his easel on Vysoky Svah below Husova Bouda, formerly called Koppenblickbaude (literally: Hut with the view of the Schnee-Koppe).

The easel stood on the bump, flanked to the right by a trough (partially filled with snow) and to the left by a creek with trees (the creek is now called Lucny Potok). One skier directs his way into the trough and towards the painter (perhaps Helene, the painter’s wife), the other skier moves away from the painter (perhaps the daughter Marion, later my mother). 

It is an emotional moment for me. I stand on the slope, where my mum learnt, how to ski. She had always told me that she had learnt skiing in the Giant Mountains, and now I know exactly, where. My grandmother might be the more anxious skier moving towards the easel, and my mum might be the more dynamic skier moving downhill.  My mum practiced skiing all her life, until the age of 76 years. 

This is an old postcard showing the Koppenblickbaude. The photo has been taken from a higher viewpoint than the painting of my grandfather, and I can see the similarities: The meadow bordered by the line of trees (to the right of the Baude), above/behind the line of trees the houses of Petzer and behind Petzer the Rosenberg with the triangular forest clearing.  

Source: gross aupa deutsche digitale bibliothek – Google Search

I take some summer photos. Now I am just a little higher than the easel. 

I can recognize the trees covering the creek to the left, the trough (that the one skier is moving towards) too the right and the line of trees bordering the meadow behind the mountain hotels. There are more hotels here today. In the background are the houses of Petzer/Pec-pod-Sněžkou that also appear on the winter painting. Today they seem to be larger.

This is a slightly different view. I stand above the trough which is called Mulde (Muldě in Czech), and the hut hiding behind the fir tree is called Bouda na Muldě, literally “the hut above the trough”.

Again higher up, I take a photo of the former Koppenblickbaude, now Husova Bouda. 

The Koppenblickbaude was enlarged in 1930 to cater for the skiers that had started to come here since 1900, as a nearby panel explains. It could well be that my grandparents and my mum stayed at the Koppenblickbaude in 1930. There was no ski lift here at that time. My mum and my grandmother had to walk uphill. The first ski lift installation was set up later, in 1932; it was a sledge drawn by two Fiat engines. 

Now the Bouda has become a holiday colony. A group of children are attentively listening to their teacher in the dining hall on the ground floor. 

 

The location of the easel for the summer paintings of 1927

For the two summer paintings the easel stood above the Chata Seibert on Zahradky (in German Lenzenberg).

The Chata Seibert still exists; it has been enlarged. There are trees near the Chata. 

Now I moved closer to the hut. I can still recognize the original construction of the building. The lowest tree stands very close to the house, and it already appears on the paintings. The tree was much smaller, when my grandfather painted it.  

I believe it is a cherry tree – one branch has broken off.

The owners of the Chata have carefully tied it up.

I am sure, it is the same tree. Look at this historical photo (I found it on the Website of Chata Seibert in summer 2023; in the meantime, I do not find it any more there).  

On this historical photo, Chata Seibert is already larger than on my grandfather’s painting, the houses of Petzer in the background look very much the same as my grandfather has painted them. And the still younger tree has got both main branches. The second larger branch has later broken off.

 

The places of the easel on the tourist map of the Giant mountains

To sum up my findings, I enter the location of the easel in the hiking map of the Giant Mountains.

I am happy. I found the places, where my grandfather had put up his easel about a hundred years ago. And I feel to get closer to my grandparents, the more such places I find.

 

Some impressions from the Pec-pod-Sněžkou and the surrounding hills: Skiing and hiking liked by the Czechs 

Staying here for a few days, I start to like Pec-pod-Sněžkou and the surrounding hills. The tourists are almost exclusively Czechs. I have met exactly two German tourists, and I am the first Swiss guest in “my” small penzion Zákoutí, as the owner tells me.

The Czechs love to hike, they populate the bars and the restaurants, they walk with their children and dogs. 

The signs of skiing are present all over, I find this panel, when walking up to Zahradky.

The ski lifts and chairlifts are standing still waiting for the next winter. The skiing area goes up to about 1200m. It may be snow reliable, because of the continental climate.

From here we see the architectural aberration of the socialist times: The Hotel Horizon at Pec-pod-Sněžkou is a tower that dominates the valley. 

Many mountain huts receive guests on the “amphitheatre” of meadows above Pec-pod-Sněžkou. This is Dimrovka Chata on Zahradky. The owner goes for a walk with his dog and we have a chat.

However, a few hotels here are sorely decaying – this one has no name, it is just called “CHATA”. Grass and weeds grow around it blocking the entrance.

Signs about skiing all over. The red gate “START” is waiting for children that will try out racing in the next winter. 

Children will also love this tunnel on Vysoky Sah in the upcoming winter. 

On the pass above Zahradky, I find the Bodenwiesbauden or Bobí Boudy with the small chapel.

I have a nice cake covered with plums here and try out the well marked hiking paths in the area.

Back at Pec-pod-Sněžkou, I have dinner in the garden of the Hotel Hvězda (Star), enjoying a trout fresh from the creeks of the Giant Mountains; trout is called pstruh here. 

I am happy that the Bohemian Giant Mountains and Pec-pod-Sněžkou in particular have not yet appeared in Facebook or Instagram as destinations of a life time. I have found a hidden gem that the Czechs seem to enjoy alone. My grandparents and my mum have discovered it about a hundred years ago and have handed over these three wonderful paintings to the next generation. Thank you for having opened my eyes for this beautiful corner of the world.