Signature lower right, 'Dopplera' for Freida Wilhelmine Doppler (Swiss, 1870-1968) and painted circa 1890. (Also spelled Frieda Doppler.) Accompanied by label with title, 'Train Station, St. Gallen, Switzerland'. A turn-of-the-century, Impressionist cityscape showing pedestrians at this Swiss train station. The artist's use of a fugitive and hazed color lends an Expressionist quality to the painting. Freida Doppler was able to travel abroad, where she painted Arab markets in the late 1800s and exhibited with success, including at Innsbruck, Austria. By the end of the nineteenth century, when mass-produced wallpapers became widely affordable, stenciling fell into artistic disrepute, degraded as “a plaything for amateurs or a labor-saving tool.” In contrast to its previous historical usage, the Böhm school elevated stenciling to a form of graphic printmaking in its own right, worthy of inclusion in Ver Sacrum. Ver Sacrum’s special September edition in 1902 was dedicated to Böhm school stencilwork and included designs by Henriette von Pokorny, Leontine Maneles, Frieda Doppler, Bettelheim, Harlfinger-Zakucka. and Podhajská, whose swan prints adorned the cover. Reference: The Female Secession: Art and the Decorative at the Viennese Women’s Academy, Megan Brandow-Faller, The Pennsylvania State University Press University Park, Pennsylvania; et al.