Along the middle register rises a group of fir trees, characterized by a more vertical and textured brushstroke that introduces a material contrast to the brightness of the snow. Among the firs appear several skiers, rendered with essential yet recognizable chromatic marks. Behind them, the mountain chain unfolds in overlapping planes: the shadowed areas are treated with deeper tones, while the upper crests are illuminated by a grazing light that defines the silhouette of the peaks.

The sky is built with broad strokes and diagonal brushwork, evoking wind‑driven clouds and giving the entire composition a sense of movement. The scene stands out for its clear spatial structure, a palette coherent with winter atmospheres, and a well‑calibrated balance between masses, light and depth.

The painting is available with its original frame or, upon request, with a 2 cm antique fir wood frame, custom‑made in our restoration workshop.

On the back there is a typewritten note from the Emeran Fessnacht OHG Gallery in Munich, dated August 21, 1967, certifying the relining intervention. Since the original canvas bore the artist’s signature, the fragment containing the signature was cut out and applied to the back of the stretcher, where it still remains visible as an element of provenance and authenticity.

A landscape painter of the Munich School and son of the artist Wilibald Wex. Trained at the Munich Academy under Ludwig Willroider and later Karl Peter Theodor von Buttersack, he regularly took part in Munich exhibitions and was a member of the Münchener Künstlergenossenschaft. His production is characterized by mountain landscapes, with particular attention to winter subjects, a genre in which he received critical recognition during his lifetime.