Ernst Zipperer

Ernst Gustav Zipperer (born February 23, 1888 in Ulm ; † May 26, 1982 in Heilbronn ) was a German painter and graphic artist .

Life

Parental home, training and First World War

Ulm on the Danube , drypoint etching, 1925

Ernst Gustav Zipperer was born in Ulm in 1888 as the son of the master saddler Ernst Hermann Zipperer and his wife Friederike. He grew up with his younger brother Max in the immediate vicinity of the Ulm Minster . After attending the boys 'middle school in Ulm (1894–1902), at the request of his father, he learned the trade of saddler and upholsterer in his parents' business. After the journeyman's examination (1905) and brief activity in the profession he learned, he followed his inclination for art and attended the crafts and arts and crafts school in Hanover (1907–1909). He then moved to Paul Heinrich's private scientific training institute in Hildburghausen (1909-1910) and took the one-year volunteer examination. From October 1910 to November 1911 he completed his military service as a one-year volunteer in Neu-Ulm , which opened his career as an officer . He then attended the arts and crafts school in Kassel and completed it with the acquisition of a teaching qualification as a drawing teacher at secondary schools and teacher training institutions (1911–1913). Then Zipperer heard a semester of art history at the Academy of Fine Arts in Munich , where he was a student of Heinrich Wölfflin . In March 1914, Zipperer took up his first position as a teacher training candidate at the Realgymnasium Berlin-Lichterfelde . However, he had to interrupt this in August 1914 because he was called up for military service in Masuria / East Prussia .

In World War I served as Zipperer officer . In 1915 he was seriously wounded by a shot in the head near Minsk in Russia and lost his left eye , which resulted in a year-long stay in the Stuttgart ophthalmological institution. In order to look after him there, his fiancée Elisabeth Nestler broke off her teacher training. Throughout his life he suffered severe headaches and dizziness as well as kidney problems as a result of the injuries he suffered.

In June 1917 he continued his service as a candidate for teaching at the Realgymnasium Berlin-Lichterfelde and in September of that year he was awarded employability as a drawing teacher . From October 1917 to September 1918 he served in Rastenburg / East Prussia as a district officer.

Ernst Zipperer 1918

Berlin

In September 1918 Ernst Zipperer married Elisabeth Nestler (born November 3, 1894 in Hildburghausen; † June 5, 1977 in Heilbronn ). Three children were born to the couple: Ernst Wilhelm (1919–2005), Gisela (1921–1928) and Vera Charlotte (* 1931). In October 1918 he started working as a drawing teacher at the Hermann von Helmholtz High School in Berlin-Schönefeld. In 1920 he moved to the Humanist High School in Berlin-Friedenau (today Friedrich-Bergius-Schule ). There he shaped a whole generation of young people until 1940. His student body included personalities such as the resistance fighter Friedrich Justus Perels , the columnist Friedrich Luft and the politicians Egon Bahr and Peter Lorenz . Zipperer was worshiped by his students; some remained in personal contact with him until his death. A deep friendship connected him with Helmut Ammann , who in turn became an important painter, sculptor and graphic artist.

The beginning of his professional career in Berlin also marked the beginning of the first major creative phase of the painter and graphic artist Ernst Zipperer, which lasted until 1940. Numerous art trips have taken him all over Germany and to various European countries. He became known beyond Germany through his drypoint etchings .

Ernst Hermann Zipperer (father) , pastel chalk 1913

In Berlin, Zipperer cultivated friendships with artists such as Heinrich Zille and Max Liebermann . He was particularly connected to the sculptor August Gaul , in whose house he lived for almost a year in 1917. Gaul valued and promoted Ernst Zipperer. Through Gaul, who was a member of the board of the Berlin Secession , Zipperer came into contact with the Berlin art world.

Tannenburg near Bühlertann

In 1931 Zipperer bought the Staufer castle Tannenburg with the Hofgut near Bühlertann in the Schwäbisch Hall district . He designed the interior of the castle artistically in part in Art Nouveau style . He leased the associated farm and continued to work as a drawing teacher and artist in Berlin.

Tannenburg and Bühlertann, Württemberg

Tannenburg , drypoint, 1940

As a war invalid, Ernst Zipperer took early retirement in 1940 and moved from Berlin to the Tannenburg. There he ran agriculture under the most difficult conditions until his son Ernst Wilhelm returned from war and captivity (1940–1948). In 1951 he handed the castle and farm over to his son. In 1963 he moved into his daughter Vera's house in Bühlertann. With the deterioration of his remaining eye, Zipperer had to stop his artistic work in 1972. He spent the last years of his life with his daughter, who had meanwhile moved to Flein near Heilbronn. Ernst Gustav Zipperer died on May 26, 1982 at the age of 94. He was buried in Bühlertann.

plant

Ernst Zipperer's artistic work includes his early work up to 1917, the creative phase in Berlin (1918–1940) and his late work (1950–1972). As things stand, around 1,300 works are documented.

Early work until 1917

As a child and during his apprenticeship, Ernst Zipperer showed a special talent for drawing. During this period numerous drawings and sketches were made, most of which have been lost. From the time of his artistic training in Hanover, Kassel and Munich, numerous studies on perspective and shadow effects as well as technical drawings have been preserved.

Under the influence of Prof. Heubach in Hanover, Zipperer turned increasingly to the drawing of architecture . In addition, he created landscapes , portraits , nudes , ornaments and still lifes , most of which he executed as pencil drawings and rarely as watercolors .

During the war in Russia (1914–1915), his signaling came to fruition in a variety of ways: In the absence of photographic possibilities, he sketched battle situations that were used in military decisions. In the trenches he drew portrait sketches for comrades or superiors as a greeting home. Two small drawings have survived from this period.

His serious war wound was followed by a year of rehabilitation in the Stuttgart ophthalmological institution. After regaining the ability to see the remaining eye, he went through an intensive artistic phase in the clinic, in which he dealt with people in numerous sketches and drawings who were clearly suffering from the consequences of the war. Some pictures from that time clearly show the influence of Heinrich Zille .

Berlin (1918–1940)

Magdalen Tower, Oxford , drypoint, 1925

1919 saw Ernst Zipperer for the drypoint . He drew and etched castles, cityscapes, churches, landscapes, portraits, flowers and animals - mostly in small to medium formats. The main focus in this phase was on architecture. He found more than 40 motifs in his hometown of Ulm alone. On his numerous travels he made pencil drawings as preliminary studies for the later etchings.

Swabian Alb with Hohenrechberg and Hohenstaufen , drypoint etching, 1925

A total of over 300 drypoint etchings were created, which were characterized by a high level of care in perception, an eye for detail and formal design skills. In addition there was the perspective effect of his pictures, which he succeeded convincingly despite one-eyedness . Zipperer achieved an increase in spatiality and expression by drawing inspiration from light and dark painting (Chiaroscuro) . Characteristic was also encountered in many etchings staffage that leads the viewer's eye discreetly.

Bahnhofshalle Berlin , drypoint, 1923

"The many moving lines that sometimes had an almost flickering effect - combined to a strict structure - that was typical of Zipperer". But it wasn't just about reproducing reality. "Zipperer did not depict dead objects, but things that have a fate and therefore life". Rather, he sought the creative translation of his perception into the artistic. “He knew how to express what emotional mood weaves around the visible”.

That Zipperer was also “a portrait eraser of rank and depth” is shown by his portraits , which he executed as pencil drawings and etchings. During his training in Kassel he received an award for portrait drawing .

In the mid-1920s, Zipperer initially colored etchings by hand. When color etchings were increasingly required towards the end of the decade , he had many of his motifs printed in color.

Numerous etchings were commissioned by cities, companies, art dealers or private individuals. A large number of the etchings were also issued as art cards by various publishers and sold through art and stationery stores.

For decades, Zipperer worked with the Wilhelm Schneider copper printer in Berlin, where the copper plates were stored. A large number of records were lost or fell into the unauthorized hands during World War II and the turmoil that followed. This explains why pirated prints came into circulation as a result. Ernst Zipperer became known in Europe and America through his drypoint etchings - less through exhibitions than through the very successful distribution of his pictures through some art publishers and numerous art dealers at home and abroad.

In addition to pencil drawings and etchings, Zipperer began to work with pastel chalk in this phase , sometimes in larger formats. A few sketches in different techniques, which were used for demonstration purposes in class, have also survived from this period.

Ernst Zipperer's wife Elisabeth played a key role in his work by keeping his back free: She organized correspondence with copper printers and art dealers as well as with prospective buyers. She also created the domestic setting for countless visits from art lovers.

War phase (1941–1947)

During the Second World War and the years immediately following, Ernst Zipperer's artistic work largely came to a standstill. The difficult everyday life on the Tannenburg hardly left any space for art.

Late work (1948–1972)

Ernst Zipperer at work - 1966

After the chaos of war and the handover of the Tannenburg to his son, Ernst Zipperer was able to devote himself entirely to his art again. He left the era of drypoint behind him and entered a new, intense phase of artistic creation. The artist's late work is characterized by a willingness to experiment and new ideas. With Zipperer, the movement runs along the art-historical development of his time from the realistic-naturalistic to the abstract-reductionistic representation. The realistic and abstract modes of expression do not represent a completed stage of artistic recognition. Rather, both exist side by side. Abstract representations are followed by a landscape or a bouquet of flowers. He is always looking for "ground under his feet", as he put it.

It is a broad thematic arc that spans the “complexity of its expressive images”. In many cases, there are already well-known motifs that keep recurring - often modified in a reduced way: trees in the landscape, a ravine and clouds above; he was particularly concerned with the clouds throughout his life. In addition, there are topics such as peace and quiet , but also division and destruction, which he implements abstractly. “Everything you can think of , you can also draw, ” the artist described his own spectrum in later years.

Ernst Zipperer, who was evangelical at home but increasingly absorbed Catholic thoughts in old age, increasingly occupied himself with religious and biblical topics: the Psalms , the creation story , Job and the Gospel of John . He also implemented music by Bach , Mozart and Tchaikovsky in colors and shapes.

• 

  All human beings are equal before God , oil pastel, 1959

• 

  The old man in the new world , oil pastel, 1967

• 

  Heaven and Earth , oil pastel, 1965

• 

  Unfolding , oil pastel, 1965

• 

  Development , pastel chalk, 1967

• 

  Landscape , pastel chalk, 1964

Dialogue , heliogravure (hand copper), 1958

Ernst Zipperer found suitable materials in pastel and oil pastels , but also in tempera and oil paint , in order to express his imagination and his mystical inwardness - at times cautious and careful, then again powerfully dynamic.

In the gravure printing process of heliogravure (hand copper), Zipperer, in cooperation with his Berlin printing company, opened up new possibilities from 1955 on how he could distribute some of his large-format pastel paintings in larger numbers. This is a fine printing process with which the original is transferred to a copper plate in a complex photo-chemical process. The heliogravure enables a very differentiated reproduction of halftones and thus creates a wealth of color. The prints, also known as hand copper, met with great interest in the art trade and in the artist's personal environment. They were affordable, making this art accessible to a wider audience.

There is not a single self-portrait by Ernst Zipperer . However, especially in his later works, he draws a picture of himself: In it he shows how he sees the visible and invisible world with his inner eye.

In addition to some extensive private collections, there are numerous smaller ones with works by Ernst Zipperer. Individual works can be found in German museums or city archives. The estate is looked after by daughter Vera Prior and grandson Lothar Zipperer.

Exhibitions (selection)

• October 1927 in Offenburg, the art exhibition in the Bürgersaa l, Offenburger Zeitung, October 15, 1927
• 1927 in Braunschweig, Elisabeth Osterloh arts and crafts fair
• October 1929, The Eraser Ernst Zipperer, Soldiner Zeitung bookstore, October 3, 1929
• April 1931 in Ulm, Zipperer exhibition in the Kunsthaus Göbel, Ulmer Tagblatt, April 16, 1931
• September 1931, exhibition of Zipperer etchings in the art dealer Karl Balkheimer, Ulm
• October 1933 in Ellwangen, on the exhibition of etchings by Ernst Zipperer , Ipf- und Jagstzeitung / Ellwanger Tagblatt, October 28, 1933
• July 1963 in Ellwangen, exhibition in the Alois Raible picture house , Aalener Volkszeitung / Ipf- und Jagstzeitung, July 6, 1963
• April 1972 in Bühlertann, Ein Stiller im Lande , Kreissparkasse Bühlertann, Haller Tagblatt, April 22, 1972
• February 1978 in Ulm, Ulmer Motive - translated into artistic , exhibition at Kunsthaus Frey, Ulmer Zeitung, February 11, 1978
• June 2002 in Bühlertann, Heimatverein Bühlertann, Haller Tagblatt, June 28, 2002
• April 2006 in Dresden, Villa Eschenbach shows all kinds of art around the monetary , Leipziger Volkszeitung, April 24, 2006
• November 2010 in Nersingen-Oberfahlheim near Ulm, Old Ulmer Views, etchings by Ernst Zipperer , Südwestpresse Ulm, October 15, 2010
• June 2013 in Bühlertann, one-eyed view of home, Heimatverein Bühlertann, Hohenloher Tagblatt, June 28, 2013
• June 2016 in Bühlertann, Zipperer-Werke in the town hall , Heimatverein Bühlertann, Haller Tagblatt, June 23, 2016
• July 2018 in Schwäbisch Hall, Ernst Zipperer (1888–1982) - On the trail of his art , Hällisch-Fränkisches Museum Schwäbisch Hall, Haller Tagblatt, July 17, 2018

Bibliography

Sources / images - chronologically

• Ernst Zipperer personnel file ; Gymnasium [Berlin] Friedenau (October 1, 1918 to March 31, 1940). Landesarchiv Berlin, A Rep. 041-08 District Office Schöneberg of Berlin, serial no. 894, [size: 220 pages].
• Art publisher Carl Büchle . Berlin-Tempelhof 1925 [publisher's catalog].
• Original graphics . Berlin: Verlag Hanfstaengel's successor June 1925 [publisher's catalog].
• Art trade. Trade journal for the interests of the entire art trade and related professions . Frankfurt / Oder: Kunstverlag Trowitsch & Sohn. 22 (1930) 18, September 2nd issue, p. 202.
• Ernst Zipperer's personal file. Landesarchiv Berlin, A Rep. 243-04 Reich Chamber of Fine Arts - State Management Berlin [approx. 1933–1945], serial no. 10132, [scope: 19 pages].
• Enrilo Calendar 1936 . Published by Enrilo GmbH Berlin. Leipzig: Richard Hummel-Verlag 1936 [calendar].
• Original graphics . Berlin: Verlag Hanfstaengel's successor December 1942 [publisher's catalog].
• Zipperer, Ernst: [Autobiographical Notes]. Bühlertann-Tannenburg. May 1953. [The handwritten note in a notebook is partially provided with ink drawings. It extends over 150 pages and is privately owned].
• Kunstverlag A. Wolpers & Co. Catalog supplement 1961 . Bad Salzuflen [publisher's catalog].
• Art publisher JC Blumenberg. Colored etchings . Lübeck 1963 [publisher's catalog].
• Kunstverlag copper printing Wilhelm Schneider & Co . Berlin 1963 [publisher's catalog].
• Art publisher Carl Lorenz . Berlin-Tempelhof undated [publisher's catalog].

literature

Entries in encyclopedias and biographical reference works - chronologically

• Zipperer, Ernst . In: Nagel, Gert K .: Swabian artist lexicon: From the baroque to the present . Munich: Art & Antiques 1986, p. 131.
• Zipperer, Ernst . In: General Artist Lexicon. The visual artists of all times and peoples. Bio-bibliographical index, vol. 10. Ed. Günther Meißner. Munich, Leipzig: KG Saur 2000, p. 751.

Independently published writings

• Klein, Erwin / Staudacher, Bernhard: The history of the Tannenburg and its owners. Summary of the lecture on Friday , November 13th, 2009 in the Bühlertalhalle Bühlertann. Bühlertann: Heimatverein 2010.

Writings published independently - chronologically

• Ziegler, Theo: The art of etching then and now . In: The Illustrated Weekly, German-America. New York: The States-Herold Corporation. (1924) 10, p. 12 f.
• Markl, Franz: The eraser Ernst Zipperer . In: Steglitzer Anzeiger. Local newspaper for the south-west of Greater Berlin. Berlin: Fischer. 56 (1929) 101, May 1, 1929.
• Massenberg, Norbert: The Friedenau Bavarians stormed the Tannenburg, the manor house of Mr. Zipperer . In: Messages. Association of former students of the Friedenauer Gymnasium. Berlin: Westkreuz printing company. No. 10, November 1959.
• Kalinke, Dieter: A quiet man in the country . In: Haller Tagblatt. Schwäbisch Hall. April 22, 1972, p. 20.
• Rieber, Albrecht: Today the roads lead to infinity . In: Heilbronn voice. Heilbronn. March 3, 1973, p. 21.
• Resch, Simon: Amiable old Ulm. Etchings by Ernst Zipperer at the Kunsthaus Frey . In: Südwestpresse Ulm. Swabian Danube newspaper. Ulm. 34 (1978) 43, February 21, 1978, p. 14.
• Martens, Jürgen: Memories of Ernst Zipperer. In: Messages. Association of former students of the Friedenauer Gymnasium. Berlin: Westkreuz printing house Berlin. No. 58, December 1982.
• Zetzmann, Hans-Joachim: Ernst Zipperer - from his life . In: Mitteilungen, Association of Former Students of the Friedenauer Gymnasium. Berlin: Westkreuz printing house Berlin. No. 58, December 1982.
• Pagel, Jutta: Do you also have a zipper? In: Haller Tagblatt. Schwäbisch Hall. June 28, 2002, p. 26.
• Klaus, Torsten. In: Leipziger Volkszeitung. Edition: Dresdner Latest News. Dresden. April 24, 2006, p. 13.
• Grupp, Anselm: Tannenburg Castle . In: Ellwanger yearbook. Volume 41, 2006-2007. Edited by Geschichts- und Altertumsverein Ellwangen, 2008, pp. 336–345.
• Staudacher, Bernhard: The Tannenburg . In: Ellwanger yearbook. Volume 42, 2008-2009. Edited by Geschichts- und Altertumsverein Ellwangen, 2010, pp. 493-523.
• Christ, Michaela: One-eyed look at home . In: Hohenloher Tagblatt. Crailsheim. June 28, 2013.
• Schweikert, Elisabeth: Zipperer works in the town hall . In: Haller Tagblatt. Schwäbisch Hall. 143, June 23, 2016, p. 22.
• Richter, Rainer: Heimatverein Bühlertann shows pictures by Ernst Zipperer . In: Haller Tagblatt. Schwäbisch Hall. June 29, 2016, p. 29.
• Christ, Michaela: Looking for traces. In: Haller Tagblatt. Schwäbisch Hall. February 9, 2017, p. 21.
• Oklmann, Verena: The artist grandson is looking for pictures . In: Schwäbische Zeitung. Ravensburg. June 27, 2018, p. 18.
• Snurawa, Ralf: From nature to reduction. In: Haller Tagblatt. Schwäbisch Hall. July 17, 2018, p. 13.
• Weber, Werner: Masterful old Rothenburg. Special exhibition in the Hällisch-Franconian Museum with Zipperer drypoint etchings. In: Fränkischer Anzeiger. Rothenburg od Tauber. No. 204, September 4, 2018.
• Lober, Bettina: In memory of the painter's grandpa . In: Haller Tagblatt: Schwäbisch Hall. September 13, 2018, p. 11.

Unauthorized, dependently published publications - chronologically

• Pictures from home and the world . In: Sunday articles in the Weser newspaper. Bremen. November 27, 1927.
• Untitled. In: Braunschweigische Landeszeitung. Braunschweig. December 21, 1927.
• For the exhibition of etchings by Ernst Zipperer . In: Ipf and Jagstzeitung / Ellwanger Tagblatt. Ellwangen. Volume 115 (1933), No. 237, October 28, 1933, p. 5.
• The art exhibition in the Bürgersaal . In: Offenburg newspaper. Offenburg. No. 237, October 15, 1927, p. 4.
• Untitled. In: Father-city sheets. Lübeck. Year 1927/28, No. 3, October 30, 1927, pp. 3–4.
• Untitled. In: Hamburger Illustrierte. Hamburg: Verlag Biroschek. Issue 31, 1928.
• The eraser Ernst Zipperer . In: Soldiner newspaper. Soldin. Volume 83 (1929), No. 232, October 3, 1929, p. 2.
• Art exhibition in the Kunsthaus Göbel . In: Ulmer Tagblatt. Ulm. No. 87, April 16, 1931.
• The painter on the Tannenburg . In: Haller Tagblatt. Schwäbisch Hall. No. 226, September 30, 1961.
• Ernst Zipperer von der Tannenburg exhibits . In: Aalener Volkszeitung / Ipf- und Jagstzeitung. Bask. No. 153, July 6, 1963, p. 11.
• The Tannenburg - a vestment from the Staufer era . In: Haller Tagblatt. Schwäbisch Hall. May 14, 1966, p. 8f.
• Every picture is a race against the sun . In: Haller Tagblatt. Schwäbisch Hall. October 29, 1966, p. 8f.
• 'The Way' - vision and mission, Ernst Zipperer on his 80th birthday . In: Haller Tagblatt. Schwäbisch Hall. February 23, 1968, p. 9.
• Sparkasse becomes a picture gallery. In: Aalener Volkszeitung / Ipf- und Jagstzeitung. Bask. No. 92, April 21, 1972, p. 21.
• The painter and art teacher Ernst Zipperer turns 85 . In: Haller Tagblatt. Schwäbisch Hall. February 23, 1973, p. 26.
• The castle immortalized in drawings. In: Heilbronn voice. Heilbronn. March 3, 1973.
• Ulmer motifs - translated into artistic . In: Südwestpresse Ulm. Swabian Danube newspaper. Ulm. Volume 34 (1978), No. 35, February 11, 1978, p. 15.
• Exhibition at the Kunsthaus Frey in Ulm on the occasion of his 90th birthday . In: Ulmer Zeitung. Ulm. February 11, 1978.
• Ernst Zipperer on his 90th birthday . In: Haller Tagblatt. Schwäbisch Hall. No. 45, February 23, 1978.
• Ernst Zipperer died in Flein. In: Haller Tagblatt. Schwäbisch Hall. No. 121, May 28, 1982, p. 24.
• View over the roofs. In: Südwestpresse Ulm. Swabian Danube newspaper. Volume 38 (1982), No. 124, June 2, 1982, p. 20.
• Ernst Zipperer in Schwäbisch Hall . In: Südwestpresse Ulm, August 7, 2018, p. 21.

Remarks

1. ↑ Copper printing works, art publishers and art dealers (selection): copper printing and art publishing house Wilhelm Schneider & Co, Berlin / art publishing house Balkheimer, Ulm (artist cards) / art publishing house JC Blumenberg, Heiligenhafen and Lübeck / art publishing house Carl Büchle, Berlin / art publishing house W. Frey, fine art dealer , Berlin / Kunstverlag Hanfstaengel's successor, Berlin / Kunstverlag Carl Lorenz, Berlin-Tempelhof / Kunstverlag Katholisches Pfarramt Sprendlingen (artist cards) / Kunstverlag A. Wolpers & Co., Berlin, Bad Homburg, Bad Salzuflen / Kunsthaus Frey, Ulm / Kunsthaus Göbel, Ulm / Kunsthandlung Ernst Hühn, Kassel / Kunsthandlung Franz Xaver Müller, Würzburg / Bilderhaus Alois Raible, Ellwangen / Jagst / Kunsthandlung Richter, Schwäbisch Hall / Bookshop of the Soldiner Zeitung, Soldin

Individual evidence

1. ↑ Zipperer, Ernst. In: Nagel, Gert K .: Swabian artist lexicon: From the baroque to the present. Munich: Art & Antiques 1986, p. 131.
2. ↑ Zipperer, Ernst. In: General Artist Lexicon. The visual artists of all times and peoples. Bio-bibliographical index, vol. 10. Ed. Günther Meißner. Munich, Leipzig: KG Saur 2000, p. 751.
3. ↑ The painter on the Tannenburg . In: Haller Tagblatt. Schwäbisch Hall. 226, September 30, 1961.
4. ↑ ^{a b} 'The Way' - vision and mission, Ernst Zipperer on his 80th birthday. In: Haller Tagblatt. Schwäbisch Hall. February 23, 1968, p. 9.
5. ↑ Klein, Erwin / Staudacher, Bernhard: The history of the Tannenburg and its owners. Summary of the lecture on Friday, November 13th, 2009 in the Bühlertalhalle Bühlertann . Bühlertann: Heimatverein 2010.
6. ^ Art exhibition in the Kunsthaus Göbel . In: Ulmer Tagblatt. Ulm. 87, April 16, 1931.
7. ↑ Rieber, A .: Today the roads lead to infinity . In: Heilbronn voice. Heilbronn. March 3, 1973, p. 21.
8. ↑ On the exhibition of etchings by Ernst Zipperer . In: Ipf and Jagst newspaper / Ellwanger Tagblatt. Ellwangen. 115 (1933) 237, October 28, 1933, p. 5.
9. ^ Exhibition at the Kunsthaus Frey in Ulm on the occasion of his 90th birthday . In: Ulmer Zeitung. Ulm. February 11, 1978.
10. ↑ Untitled. In: Father-city sheets. Lübeck. (1927/28) 3, October 30, 1927, p. 3f.
11. ↑ Kunstverlag Carl Büchle . Berlin-Tempelhof 1925 [publisher's catalog].
12. ↑ Pictures from home and world. In: Sunday articles in the Weser newspaper. Bremen. November 27, 1927.
13. ↑ ^{a b} Every picture is a race against the sun . In: Haller Tagblatt. Schwäbisch Hall. October 29, 1966, p. 8f.
14. ↑ Kalinke, Dieter: A quiet man in the country . In: Haller Tagblatt. Schwäbisch Hall. April 22, 1972, p. 20.
15. ↑ The painter on the Tannenburg . In: Haller Tagblatt. Schwäbisch Hall. 226, September 30, 1961.
16. ↑ The fir Castle - a Trutzveste from the Staufer period . In: Haller Tagblatt. Schwäbisch Hall. May 14, 1966, p. 8f.