Franz Eichhorst, Erinnerung an Terstilleferm

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Price:    300 Euro

Description


‘Erinnerung an Terstilleferm’ (‘Remembering the Terstille Farm’)

Lithograph, created in 1915. Assumably from a series of 50.
Displayed at the ‘Grosse Berliner Kunstausstellung 1916; subsection ‘Kriegsbilder Ausstellung’, Königliche Akademie der Künste zu Berlin. 
By Franz  Eichhorst, with numerous WWI and WWII paintings and the unsurpassed number of 57 displayed works at the GDK, -German’s most important war painter.

Exhibition catalog of the ‘Königliche Akademie der Künste zu Berlin, Kriegsbilder Ausstellung’, 1916.   

During World War I, the northeastern bank of the river Yser (B), between Sint-Joris and Diksmuide, more or less formed the German front line. The allied front line roughly followed the former railway line Nieuwpoort-Diksmuide. The area east of this railway and west of the Yser was flooded and formed a buffer between the fronts. In this inundated area, both parties had set up outposts in higher areas, usually farm sites. These outposts could be reached by constructed passerelles (‘Brückenstegen’ or ‘wooden piers’). In the area west of the Yser German outposts were set up at the farms like ‘Grote Hemme’, ‘Violette’ and ‘Terstille’. These outposts could only be reached via the passerelles, but these wooden piers were completely in sight of the enemy and could therefore only be used at night. 
The Yser bank near Mannekensvere was in the ‘Marinegebiet’. This refers to that part of the German front zone and the hinterland that was occupied by the ‘Marinekorps Flandern’ (‘Naval Corps Flanders’). In 1915 and again between 25 January 1916 and 29 September 1916, the German Third Marine Infantry Regiment occupied the Mannekensvere sector: there were the Hemme-Kompanie, the Violette-Kompanie, the Terstille-Kompanie, the Mannekensvaere-Kompanie, the Linke Reserve-Kompanie and the Straight Reserve-Kompanie.

Terstille Farm (‘Fme Terstille’) marked on the map of the battle fields of the river Yser: https://www.idesetautres.be/upload/download.php?file=CHAMP%20BATAILLE%20YSER%20CARTE%20BULLETIN%20TCB%20191906.pdf

Franz Eichhorst, ‘Ablösung von der Terstilleferm’ (‘Relief of troops at Terstille Farm’). Feldpostkarte, stamped 1917, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’).

– condition :  IV     Litho has several creases
– size : 52 x 49 cm
– signed : below ‘Erinnerung an Terstilleferm – Franz Eichhorst’
– type : Assumably form a series of 50

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BIOGRAPHY: FRANZ EICHHORST

Franz Eichhorst, ‘Erinnerung an Stalingrad‘ (‘Remembering Stalingrad‘). Displayed at the GDK 1943 room 1. Bought by Hitler for 35,000 Reichsmark. Found back in 2012 in the Czech republik.

Monastery of Hohenfurt (Vyssi Brod), Czech Republic
In the beginning of 1944, Dr. Hans Reger (architect in charge of the Führerbau, Munich 1938-1945) shipped in several transports 43 paintings and 52 sculptures from Hitler’s private contemporary art collection -and other stolen art collections- to the Monastery of Hohenfurt (Vyssi Brod), near Linz in the Czech Republic.
After the 1945 liberation of Czechoslovakia, valuable art, such as pieces from the Mannheimer- and Rothschild collections, were confiscated by the U.S. Army and taken to the Munich Central Collection Point in an effort to return them to their original owners. Art works then considered as having no value, like contemporary German Nazi-art works, were left behind. They were photographed in August 1945 by the former director of the Czech State Institute of Photometry, Antonín Friedl, along with the photographer Jan Tuháček. ‘Erinnerung an Stalingrad‘ by Franz Eichhorst was
among the paintings in the Monastery of Hohenfurt. Later, the art works previously owned by Hitler, ended up scattered across the country.
Since 2012, twenty-three paintings by German artists -that Adolf Hitler personally purchased during WWII- were found back at various Czech institutions. Seven were discovered at the Zákupy Chateau, the site where items from confiscated castles, chateaus and private houses were gathered after the war. Seven other canvases were found at the convent of Premonstratensian Sisters in Doksany, near Prague. One painting was found at the Military Institute in Prague, and four works were found at the Sychrov Castle. Four other paintings were found in the building of the Faculty of Law of the Charles University in Prague.
Three larges bronzes were found back at the Aleš South Bohemian Gallery: ‘The Rower’ by Hermann Zettlitzer, ‘Aphrodite‘ by Wilhelm Wandschneider, and ‘The Sower‘ by Willi Knapp.
‘Erinnerung an Stalingrad‘ by Eichhorst was found in Doksany.

Left: ‘Erinnerung an Stalingrad’ by Eichhorst, found back in 2012 in the Czech Republic. 
Right: the backsite of the painting. 
 

Franz Eichhorst, ‘Gefangene Bolschewisten in Moglew‘ (‘Captivated Bolsheviks in Mogilew‘). Sketched in Russia, painted in Berlin. Watercolor. Size 71 x 90 cm. Displayed at the GDK room 28. Bought by Hitler for 5,000 Reichsmark. In the possession of the Deutsches Historisches Museum, Berlin. De[icted in ‘German Wart Art, 1939 -1945’, New York, 1983. 
Left: ‘Gefangene Bolschewisten in Moglew‘ by Eichhorst, depicted in ‘Feuer und Farbe‘, 1943.
Right: ‘Gefangene Bolschewisten in Moglew‘ by Eichhorst, depicted in the ‘Illustrirte Zeitung Leipzig‘, September 1942.
   

Left: Franz Eichhorst, ‘Kampfpause’ (‘Battle Pause’). Displayed at the GDK 1944 room 1. Oil, Size 254 x 152 cm. Bought by Hitler for 28,000 Reichsmark.
Right: Franz Eichhorst, ‘Im Granattrichter vor Warschau’ (‘In a Shell Crater near Warsaw‘). Displayed at the GDK 1940 room 28. Bought by Hitler for 1,600 Reichsmark. Also displayed at the exhibition ‘Polenfeldzug und U-Boot Krieg im Bildern und Bildnissen’, January -February 1940, Künstlerhaus Berlin, organised by the ‘Hauptstelle Bildende Kunst im Amt des Beauftragten des Führers für die Überwachung der Gesamten geistigen und weltanschaulichen Schulung und Erziehung der NSDAP‘.
   

Left: Franz Eichhorst, ‘Studienkopf‘ (‘Study of a Head’). Depicted in ‘Nationalsozialitische Monatshefte’, Heft 73, 1936.
Franz Eichhorst, ‘Maschinegewehrschützen’ (‘Machine Gunners‘). Displayed at the GDK 1941 room 13. Bought by the city of Solingen for 2,500 Reichsmark. Depicted in ‘Velhagen & Klasings Monatshefte’, August 1942.
   

‘Bauernfrau’ (‘Farmer‘), by Eichhorst, depicted in ‘Deutsche Kunst und Entartete Kunst‘, München, 1938. ‘Bauernfrau‘ is shown here as an example of pure German art in juxtaposition to ‘Frauliches Ideal’ by Otto Dix. ‘Bäuernfrau’ was displayed at the GDK 1937 room 16.

Franz Eichhorst, ‘Deutsche Truppen in Warschau‘ (‘German Troops in Warsaw‘). Displayed at the GDK 1940 room 28. Also displayed at the exhibition ‘Polenfeldzug und U-Boot Krieg im Bildern und Bildnissen’, January -February 1940, Künstlerhaus Berlin, organised by the ‘Hauptstelle Bildende Kunst im Amt des Beauftragten des Führers für die Überwachung der Gesamten geistigen und weltanschaulichen Schulung und Erziehung der NSDAP’; depicted in the exhibition catalog. Also depicted in ‘Feuer und Farbe’, 1943.

Franz Eichhorst, ‘Feuernde Geschütze bei der Beschiessung von Warschau‘ (‘Firing Artillery during the Shelling of Warsaw‘). Displayed at the GDK 1940 room 28. Bought by Hitler for 1,600 Reichsmark. 
Also displayed at the exhibition ‘Polenfeldzug und U-Boot Krieg im Bildern und Bildnissen’, January -February 1940, Künstlerhaus Berlin, organised by the ‘Hauptstelle Bildende Kunst im Amt des Beauftragten des Führers für die Überwachung der Gesamten geistigen und weltanschaulichen Schulung und Erziehung der NSDAP’. Also depicted in ‘Feuer und Farbe’, 1943.

Left: Franz Eichhorst, ‘Ein Deutscher Soldat’ (‘A German Soldier‘). Displayed at the exhibition ‘Maler an der Front’, 1941. Depicted in ‘Nationalsozialistische Monatshefte’, Heft 135, 1941.
Right: Franz Eichhorst, ‘Vorausabteilung in Russland‘ (‘(Advanced detachment in Russia‘). Displayed at the GDK 1942 room 28. Bought by Hitler for 3,750 Reichsmark. Depicted in ‘Feuer und Farbe’, 1943.
   

Left: Franz Eichhorst, ‘Im Splittergraben’ (‘In the Splinter Trenches). Displayed at the GDK 1943 room 30. Again displayed at the exhibition ‘Deutsche Künstler und die SS’, 1944, Salzburg.
Right: Franz Eichhorst, ‘Panzer Voran!‘ (‘Tanks Forward!‘). Displayed at the GDK 1943 room 30. Depicted in ‘Feuer und Farbe’, 1943.
  

Franz Eichhorst, ‘Polenkämpfer‘ (‘Fighter in Poland‘). Displayed at the GDK 1940 room 13. Bought by Hitler for 4,000 Reichsmark. Also displayed at the exhibition ‘Polenfeldzug und U-Boot Krieg im Bildern und Bildnissen’, January -February 1940, Künstlerhaus Berlin, organised by the ‘Hauptstelle Bildende Kunst im Amt des Beauftragten des Führers für die Überwachung der Gesamten geistigen und weltanschaulichen Schulung und Erziehung der NSDAP‘.

Left: Franz Eichhorst, ‘Zerschossene Kirche in Smolensk‘ (‘Bombed Church in Smolensk‘). Watercolor. Displayed at the GDK 1942 room 28. Bought by Hitler for 1,125 Reichsmark.
Right: Franz Eichhorst, ‘Nach der Einnahme von Mogilew am 26.7.41‘ (‘After the Capture of Mogilew at 26 July 1941‘). Watercolor. Displayed at the GDK 1942 room 28. Bought by Hitler for 1,500 Reichsmark.    

Left: Franz Eichhorst, ‘Panzerrast am Abend in der Steppe‘ (‘Tanks resting in the evening in the Steppe‘). Displayed at the GDK 1943 room 30. Depicted in ‘Die Kunst im Deutschen Reich’, 1943. 
Right: Franz Eichhorst, ‘Vorgehende Artillerie in Polen’ (‘Advancing Artillery in Poland‘). Displayed at the GDK 1940 room 28. Depicted in ‘Die Kunst im Deutschen Reich’, 1940. Also displayed at the exhibition ‘Polenfeldzug und U-Boot Krieg im Bildern und Bildnissen’, January -February 1940, Künstlerhaus Berlin, organised by the ‘Hauptstelle Bildende Kunst im Amt des Beauftragten des Führers für die Überwachung der Gesamten geistigen und weltanschaulichen Schulung und Erziehung der NSDAP‘.
   

Left: Franz Eichhorst, ‘Warschau, November 1940’ (‘Warsaw, November 1940‘). Watercolor. Displayed at the GDK 1942 room 28. Bought by Hitler for 1,250 Reichsmark.
Right: Franz Eichhorst, ‘Von den Sowjets gesprengte Brücke in Mogilew‘ (‘Bridge near Mogilew, blown up by the Soviets’). Displayed at the GDK 1942 room 28. Bought by Adolf Hitler.   

Franz Eichhorst, ‘Bei Belynitschi erbaute Notbrücke’ (‘Contemporary emergency Bridge, built near Belynitschi’). Displayed at the GDK 1942 room 28. Bought by Adolf Hitler.

Left: Franz Eichhorst, ‘Deutsche Kolonnen, gefangene Bolschewisten‘ (‘German Columns, captivated Bolsheviks‘). Displayed at the GDK 1942 room 28. Bought by Hitler for 4,375 Reichsmark.  Depicted in ‘Feuer und Farbe’, 1943.
Right: Franz Eichhorst, ‘Panzer in Ruhestelling‘ (‘Tanks during a Break‘). Displayed under the name ‘Panzerbereitschaftsstellung’ (‘Tanks in Position’) at the GDK 1943 room 30. Depicted in ‘Feuer und Farbe’, 1943.    

Franz Eichhorst, ‘Verwundeter Deutsche Soldat mit zwei Kameraden‘ (‘Wounded German Soldier with two Comrades‘). Size 42 x 56 cm. Displayed at the exhibition ‘Kunst und Propaganda. Gemälde und Grafiken aus dem Russlandkrieg 1941-1945‘, 2005/ 06, Minden/ Wesel. Depicted in the related exhibition catalog ‘Kunst und Propaganda in der Wehrmacht‘, 2006.

Left: Franz Eichhorst, ‘Junge Bäuerin‘ (‘Young Farmer‘), 1939. Size 40 x 32 cm. Displayed at the GDK 1939 room 37. In the possession of the Bayerische Staatsgemäldesammlungen. 
Right: Franz Eichhorst, ‘Hessischer Innenraum’ (‘Hessian Room‘). Displayed at the GDK 1937 room 15. Depicted in ‘Velhagen & Klasings Monatshefte’, 1921. Again displayed at the In ‘XXI Esposizione Biennale 1938’ in Venice.   

Franz Eichhorst, ‘Bäuerin mit Tragkorb‘ (‘Farmer with Basket‘), 1937. Displayed at the GDK 1938 room 24.

Left: Franz Eichhorst, ‘Mädchen mit Krug‘ (‘Girl with Jar‘), 1928. Displayed at the GDK 1939 room 24.
Right: Franz Eichhorst, ‘Mutter mit Kind‘ (‘Mother with Child‘). Displayed at the GDK 1938 room 24. Bought by Hitler for 3,000 Reichsmark.
 

Franz Eichhorst, ‘Zwei Rollhäusener Bauern in Sonntagstracht‘ (‘Two Farmers from Rollhausen in traditional Sunday Clothes‘). Size 60 x 50 cm. Around 1920. Oil on wood. Sold by a German auction house in 2021.

From 1936 – 1938 Eichhorst created a series of murals representing ‘Epos der deutschen Geschichte’ (major events in the German history in the previous 25 years) for the Schöneberg city hall in Berlin. After World War II the murals, covering the four walls of the Bürgersaal, were destructed.
The Bürgersaal, January 1939.

   

The Eichhorst frescoes were described and depicted on 9 pages in ‘Die Kunst im Dritten Reich’, 1939.
          

WORLD WAR I DEPICTIONS BY FRANZ EICHHORST  —————————————-

During World War I, the northeastern bank of the river Yser (B), between Sint-Joris and Diksmuide, more or less formed the German front line. The allied front line roughly followed the former railway line Nieuwpoort-Diksmuide. The area east of this railway and west of the Yser was flooded and formed a buffer between the fronts. In this inundated area, both parties had set up outposts in higher areas, usually farm sites. These outposts could be reached by constructed passerelles (‘Brückenstegen’ or ‘wooden piers’). In the area west of the Yser German outposts were set up at the farms like ‘Grote Hemme’, ‘Violette’ and ‘Terstille’. These outposts could only be reached via the passerelles, but these wooden piers were completely in sight of the enemy and could therefore only be used at night. 
The Yser bank near Mannekensvere was in the ‘Marinegebiet’. This refers to that part of the German front zone and the hinterland that was occupied by the ‘Marinekorps Flandern’ (‘Naval Corps Flanders’). In 1915 and again between 25 January 1916 and 29 September 1916, the German Third Marine Infantry Regiment occupied the Mannekensvere sector: there were the Hemme-Kompanie, the Violette-Kompanie, the Terstille-Kompanie, the Mannekensvaere-Kompanie, the Linke Reserve-Kompanie and the Straight Reserve-Kompanie.

Below several World War I works by Eichhorst, depicting scenes in South-West Belgium, printed on postcards. Many of them were displayed at the ‘Kriegsbilder Ausstellung’, 1916, Königliche Akademie der Künste zu Berlin. 

Terstille Farm (‘Fme Terstille’) marked on the map of the battle fields of the river Yser:
https://www.idesetautres.be/upload/download.php?file=CHAMP%20BATAILLE%20YSER%20CARTE%20BULLETIN%20TCB%20191906.pdf

Franz Eichhorst, ‘Erinnerung an Terstilleferm’, lithograph, size 62,5 x 49,5 cm. Number 7 in a series of 50. Hand-signed ‘No. 7/50 Franz Eichhorst 1915’. 

Franz Eichhorst, ‘Ablösung von der Terstilleferm’ (‘Relief of troops at Terstille Farm’). Feldpostkarte, stamped 1917, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’).

Franz Eichhorst, ‘Tor der grossen Hemmeferm‘ (‘Port of the great Hemme Farm’). Feldpostkarte, ‘Reinertrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of the Navy-Marine Corps Relief Society’). Depicted in ‘Kunst und Volk’, page 45, 1936.

Franz Eichhorst, ‘Grosse Hemmeferm’ (‘Ferme Groote Hemme’, or ‘The Great Hemme Farm’).

Franz Eichhorst, ‘Leuchtrackete über Flanders‘ (‘Signal Rockets over Flandern‘). Depicted in ‘Kunst und Volk‘, February 1936.

Franz Eichhorst, ‘In der Sappe‘ (‘In the Trenches‘). Feldpostkarte, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’). The original work was displayed at the ‘Grosse Berliner Kunstausstellung 1916’. Again displayed at the ‘Grosse Berliner Kunstausstellung 1918’.

Left: Franz Eichhorst, ‘Aus den Kämpfen an der Somme: zum Gegenstoss vorgehende Seesoldaten‘ (‘From the Battles at the Somme: counterattack of the Marine-soldiers‘. Depicted in ‘Velhagen & Klasings Monatshefte‘, 1920. 
Right: Franz Eichhorst, ‘Zerschossener Wald‘ (‘Bombed Forest‘). Depicted in ‘Velhagen & Klasings Monatshefte‘, 1920. Possibly displayed at the exhibition ‘Maler an der Front‘, 1941.
   

Franz Eichhorst, ‘Ablösung durch Mannekensvere‘ (‘Relief of troops in the village of Mannekensvere’, Belgium). Feldpostcard, ‘Reinertrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of the Navy-Marine Corps Relief Society’). The original work was displayed at the exhibition ‘Kriegsbilder Ausstellung’, 1916, Königliche Akademie der Künste zu Berlin. 
   

Franz Eichhorst, ‘Marine Infanterie Regiment durch Mannekensvere‘ (‘Marine Infantry Regiment going through the village of Mannekensvere’). Feldpostkarte, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’). The original work was displayed at the exhibition ‘Kriegsbilder Ausstellung’, 1916, Königliche Akademie der Künste zu Berlin. 

Left: Franz Eichhorst, ‘Marine Infanterie Regiment durch Mannekensvere‘, oil on wood. Signed 1916. Size 32 x 40 cm. Sold by a German auction house in 2020. Displayed at the ‘Grosse Berliner Kunstausstellung 1916’.
Right: the remains of the 1916 exhibition-sticker on the back.  

Franz Eichhorst, ‘Feldwache an der Yser‘ (‘On the Watch at the river Yser’), 1916. Feldpostkarte, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’). The original work was displayed at the ‘Grosse Berliner Kunstausstellung 1916’. Again displayed at the ‘Grosse Berliner Kunstausstellung 1918’; later again displayed at the GDK 1937 room 35.

Franz Eichhorst, ‘Armierungssoldaten vor Pierre Chapelle‘ (‘Non-combatant labour-soldiers near Pierre Chapelle’). Feldpostkarte, ‘Reinertrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of the Navy-Marine Corps Relief Society’). Also depicted under the name ‘Landstrasse in Flanders’ in ‘Kunst und Volk’, page 46, 1936.

Franz Eichhorst, ‘Armierungssoldaten vor Pierre Chapelle‘ (‘Non-combatant labour-soldiers near Pierre Chapelle’). Watercolor. Signed ‘Pierre Chapelle März 1916’. Size  25 x 40 cm. Sold by a German auction house in 2019.

Left: Franz Eichhorst, ‘Bootskanonen Beobachtungs Unterstand‘ (‘Boat-guns Guard Dugout‘), 8 July 1916. Feldpostkarte, ‘Reinertrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’). 
Right: Franz Eichhorst, ‘Grosse und kleine Yserferm‘ (‘Large Yser Farm and small Yser Farm’), 1914. Feldpostkarte, ‘Reinertrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of the Navy-Marine Corps Relief Society’).
 

Franz Eichhorst, ‘Maschinegewehrschützen‘ (‘Machinegunners‘). Feldpostkarte, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’).

Franz Eichhorst, ‘Kampfpatrouille’ (‘Combat Patrol’), 1915.
Left: depicted in ‘Nationalsozialistische Monatshefte‘, Heft 72, 1936.
Right: ‘Kampfpatrouille’, depicted in ‘Kunst und Volk’, page 47, 1936.
 

Left: Franz Eichhorst, ‘Synvekenskerke’ (‘Village of Stuyvekenskerke’). Feldpostkarte, ‘Reinertrag für Wohlfahrtszwecke des Landsturmbatallons Hersfeld’ (‘Net proceeds for the benefit of the Landsturmbataillons Hersfeld Relief Society’).
Right: Franz Eichhorst, ‘Unterstand altes Fort‘ (‘Shelter in an old Fortress‘). Feldpostkarte, ‘Reinertrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of the Navy-Marine Corps Relief Society’).
 

Franz Eichhorst, ‘Ruhequartier’ (‘Rest-station‘). Feldpostkarte, ‘Reinerntrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’). 

Franz Eichhorst, ‘Ruhequartier’ (‘Rest-station‘), October 1915. Size 32 x 41 cm. In the possession of the Kupferstichkabinett, Staatliche Museum zu Berlin.

Franz Eichhorst, ‘Verwundete Marine-Infanterie bei Pys‘ (‘Wounded Soldiers of the Marine Infantry near the village of Pys’). Feldpostkarte, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’).

Franz Eichhorst, ‘Im Schützengraben‘ (‘In the Trenches‘), lithografie. Size 33 x 46 cm.

Franz Eichhorst, ‘Gentport in Brügge’ (‘Gate of Ghent, city of Brugges, Belgium’), depicted in ‘Nationalsozialistische Monatshefte‘, Heft 72, 1936. Also depicted in ‘Feuer und Farbe’, 1943.

Left: Franz Eichhorst, ‘Meine Schlafgenossen’ (‘My Bunkmates‘). Feldpostkarte, ‘Reinertrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of the Navy-Marine Corps Relief Society’).
Right: ‘Meine Schlafgenossen’ by Eichhorst, displayed at the ‘Grosse Berliner Kunstausstellung 1916‘; depicted in the exhibition catalog.
   

Left: Franz Eichhorst, ‘Admiral Schröder‘ (‘Admiral Schröder, commander of the Marine Corps Flandern’), 1916. Feldpostkarte, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’).
Right: Franz Eichhorst, ‘Gefechtsordonnanzen’ (‘Orderlies’). Feldpostkarte, ‘Reinerntrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’).
   

Left: Franz Eichhorst, ‘Belfried Brügge’ (‘The Belfry of Bruges, a medieval bell tower in the centre of Bruges, Belgium, one of the city’s most prominent symbols). Feldpostkarte, ‘Reinertrag für die Ehrenbeihilfe des 3. Mar.- Inf. Regt.‘ (‘Net proceeds for the benefit of Honorary Aid to the Third Marine Infantry Regiment’).
Right: Franz Eichhorst, ‘Mannekensvere, Kirche‘ (‘Church in Mannekensvere‘). Feldpostkarte, ‘Reinertrag für Wohlfahrtszwecke des Marinekorps’ (‘Net proceeds for the benefit of the Navy-Marine Corps Relief Society’). 

Franz Eichhorst, ‘Langemark, Kirche’ (‘The Church of Langemark‘). Displayed at the ‘Grosse Berliner Kunstausstellung 1916. Depicted in ‘An Flanderns Küste’ (date of publication unknown).

Franz Eichhorst, ‘Karfreitag’ (‘Good Friday‘). Displayed at the ’Grosse Berliner Kunstausstellung 1917; depicted in the exhibition catalog. Also depicted in ‘Velhagen & Klasings Monatshefte’, 1921.

Franz Eichhorst, 8 April 1936.

Franz Eichhorst, most important German war painter (WWI and WWII)
Franz Eichhorst (1885 – 1948), born in Berlin as the son of a civil servant, was a painter, engraver and illustrator. First he went to a Craft School, later he studied (until 1910) under Friedrich Kallmorgen and Georg Koch at the Akademie der Künste in Berlin.
After his study, he worked as independent artist in Berlin-Siegmundshof, Havelberg and Spreewald.
In 1909 he was awarded a Golden Medal at the ‘Grosse Berliner Kunstausstellung’. From 1911 to 1912 Eichhorst made study trips to Belgium, France, Spain, Italy and The Netherlands.
He volunteered for military service in World War I. From 1914 to 1918 he painted numerous battle scenes of the Western front, mainly in South-West Belgium, the area around the rivers Yser and Somme. Many of his works were printed on postcards, issued by the ‘Marinekorps Flandern’, the ‘Naval Corps Flanders’, which occupied large parts of this area. A series of these ‘Feldpostkarten’ depicted the flooded grounds around the river Yser. This inundated area formed a buffer between the fronts; both parties had set up outposts in higher areas, usually farm sites. These outposts could be reached by constructed passerelles (‘Brückenstegen’ or ‘wooden piers’). In the area west of the Yser German outposts were set up at the farms like ‘Grote Hemme’, ‘Violette’ and ‘Terstille’. These outposts could only be reached via the passerelles, but these wooden piers were completely in sight of the enemy and could therefore only be used at night. 26 of these works, often issued as lithographs, were displayed at the ‘Grosse Berliner Kunstausstellung 1916’, subsection ‘Kriegsbilder Ausstellung’, Königliche Akademie der Künste zu Berlin. At the ‘Grosse Berliner Kunstausstellung‘ in 1917 and 1918, Eichhorst displayed another 20 works, many of them also depicting scenes from the Western front.
After the war he first settled in Röllshausen, then from 1923 onwards in Berlin. In 1921 he set up a summer studio in Matrei in East Tirol. In 1935, Eichhorst became a teacher of drawing at the Berlin Academy of Art.
From 1936 – 1938 Eichhorst created a series of murals representing ‘Epos der deutschen Geschichte’ (major events in the German history in the previous 25 years) for the Schöneberg city hall in Berlin. After World War II the murals, covering the four walls of the Bürgersaal, were destructed. In April 1938, Adolf Hitler awarded Eichhorst the honorary title of Professor at the Berlin Academy of Art. A year later he was awarded the Medal of Fine Arts.
Eichhorst served for a second time in the army as war painter: first in the 1939-military campaign in Poland, and later in Russia, where he was part of the 6. Armee, which was defeated in the Battle of Stalingrad in the winter of 1942/43 (Eichhorst narrowly escaped).
From 1909 until 1943, Eichhorst was numerous times represented at the ‘Grosse Berliner Kunstaustellungen’ and at exhibitions organized by the ‘Verein Berliner Künstler’ and by the ’Preussische Akademie der Künste’.  
Eichhorst participated also in early Nazi exibitions like ‘Die Auslese‘, 1934, ‘Lob der Arbeit‘, 1936, ‘Heroïsche Kunst‘, 1936, and ‘Deutsche Bauer – Deutsches Land‘, 1938. Later in 1944 he took part in the exhibtion ‘Deutsche Künstler und die SS‘, held in Breslau and Salzburg.
In 1938 Eichhorst took part in the XXI Esposizione Biennale in Venice with five works: ‘L’Ammiraglio von Schröder’ (‘Admiral Schröder‘), ‘Donna alla stufa’ (‘Woman at the Stove’), ‘Interno di casa nell’Assia’ (‘Hessian Room’, displayed at the GDK 1937), ‘Pranzo’ (‘Lunch’, displayed at the GDK 1937) and ‘La Signora Eichhorst’ (‘Mrs Eichhorst’, displayed at the GDK 1940).
In 1940 he displayed 11 works at the exhibition ‘Polenfeldzug und U-Boot Krieg im Bildern und Bildnissen’, Künstlerhaus Berlin, organised by the ‘Hauptstelle Bildende Kunst im Amt des Beauftragten des Führers für die Überwachung der Gesamten geistigen und weltanschaulichen Schulung und Erziehung der NSDAP‘. Several of these works were later displayed at the Great German Art Exhibitions. A year later he participated with seven works at the exhibition ‘Maler an der Front’.
At the Great German Art Exhibitions, Eichhorst was the number 1 artist, with the most works displayed: no less than 57 paintings and drawings. Most works showed battle scenes from the Second World War, particularly those from the war with Poland and Russia, but also some scenes from the Western front in World War I. Adolf Hitler bought 26 (!) of his works, including ‘Erinnerung an Stalingrad‘ (‘Remembering Stalingrad‘, 35,000 Reichsmark, GDK 1943, found back in 2012 in the Czech republic), ‘Kampfpause’ (‘Battle Pause’, 28,000 Reichsmark, GDK 1944) and ‘Flüchtlinge’ (‘Refugees’, 28,000 Reichsmark, GDK 1944).
After World War II, Eichhorst moved to Matrei. His atelier in Berlin was bombed, and many of his works were destructed.
Eichhorst died in 1948 in a hospital in Innsbruck.
The Bayerische Staatsgemäldesammlungen is in the possession of ‘Junge Bäuerin‘ (‘Young Farmer‘, displayed at the GDK 1939).
The German Historical Museum holds some World War I works by Eichhorst, as well as some GDK-works.
In 2012 Eichhorst work ‘Erinnerung an Stalingrad‘ was found back in the Czech republic.

Monastery of Hohenfurt (Vyssi Brod), Czech republic
At the end of WWII ‘Erinnerung an Stalingrad’ was, with 42 other paintings and 30 statues from Hitler’s private contemporary art collection -and other stolen art collections- hidden by the National Socialists in the Monastery of Hohenfurt (Vyssi Brod), near Linz in the Czech Republic. After the war, valuable art, such as pieces from the Mannheimer- and Rothschild collections, were confiscated by the U.S. Army and taken to the Munich Central Collection Point in an effort to return them to their original owners. Art works then considered as having no value, like contemporary German Nazi-art works, were left behind after the 1945 liberation of Czechoslovakia and ended up scattered across the country. 
In 2012 sixteen paintings by German artists -that Adolf Hitler personally purchased during WWII- were found in various Czech institutions. Seven were discovered in the Zákupy Chateau, the site where items from confiscated castles, chateaus and private houses were gathered after the war. Seven other canvases were found at the convent of Premonstratensian Sisters in Doksany, near Prague. Two paintings were found at the Military Institute in Prague and at the Faculty of Law of Charles University in Prague. ‘Erinnerung an Stalingrad‘ was found in Doksany. All the sixteen paintings -including ‘Erinnerung an Stalingrad’- are now in the possession of the ‘Czech National Institute for the Protection and Conservation of Monuments and Sites’. They will remain in the Czech Republic.