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SCULPTURES
Female sandal binder
Berlin, around 1910
Small bronze sculpture by Ernst Waegener (1854-1920). Master student of Reinhold Begas from 1879-81. From 1899, he was involved in the Berlin Secession with his works.
Height 32 cm, length 37 cm, width 14.5 cm
Small bronze sculpture by Ernst Waegener (1854-1920). Master student of Reinhold Begas from 1879-81. From 1899, he was involved in the Berlin Secession with his works.
Height 32 cm, length 37 cm, width 14.5 cm
Kneeling boy
Probably Landshut, around 1760, walnut carved, around Christian Jorhan the Elder (1727-1804)
The adoring putto is supported on a moving rococo pedestal. He is fully sculpted and probably was originally part of a larger architecture.
Height: 85 cm, width: 40 cm, depth: 23 cm
The adoring putto is supported on a moving rococo pedestal. He is fully sculpted and probably was originally part of a larger architecture.
Height: 85 cm, width: 40 cm, depth: 23 cm
Bozzetto of a Maria Immaculata
Limewood with original frame
Würzburg. Around 1760
Mary, with scepter in her left hand stands on the earth globe sustained by an angel. On the high pedestal of rock-like moving rocailles, two putti fight against a dragon. Overcoming evil is expressed by the grace of Christ's birth with Mary crowned with stars.
This bozzetto could be the basis for a large Marian fountain or part of an altar.
Height: 42 cm
Würzburg. Around 1760
Mary, with scepter in her left hand stands on the earth globe sustained by an angel. On the high pedestal of rock-like moving rocailles, two putti fight against a dragon. Overcoming evil is expressed by the grace of Christ's birth with Mary crowned with stars.
This bozzetto could be the basis for a large Marian fountain or part of an altar.
Height: 42 cm
Baroque angel
Lime tree, with original frame,
Munich, Johann Baptist Straub's circle (1704-1784)
A winged putto head with a sideways turned look from the circle of Johann Baptist Straub's workshop.
Straub came from a family of Munich sculptors - he learned from his father and brothers in the workshop from 1718 and produced his first decorative works under Joseph Effner for the Munich Residence.
From 1726-1734, he went to Vienna and became court sculptor in Munich under Elector Karl Albrecht of Bavaria in 1737. He decorated many churches and monasteries in Upper Bavaria.
In Ettal monastery, similar angel heads have been preserved on the Korbiniansaltar.
Height: 40 cm
Munich, Johann Baptist Straub's circle (1704-1784)
A winged putto head with a sideways turned look from the circle of Johann Baptist Straub's workshop.
Straub came from a family of Munich sculptors - he learned from his father and brothers in the workshop from 1718 and produced his first decorative works under Joseph Effner for the Munich Residence.
From 1726-1734, he went to Vienna and became court sculptor in Munich under Elector Karl Albrecht of Bavaria in 1737. He decorated many churches and monasteries in Upper Bavaria.
In Ettal monastery, similar angel heads have been preserved on the Korbiniansaltar.
Height: 40 cm
Mary Immaculate
Lime wood with original gilding and frame
Franconia, around 1730
The star-crowned Maria Immaculata (immaculate Mary) stands with her right foot on the serpent with the apple of knowledge, which enwinds the globe of the earth. This depiction formulates the threat of evil to the world and shows Mary as victress through the grace of Christ's birth.
Height: 45 cm
Franconia, around 1730
The star-crowned Maria Immaculata (immaculate Mary) stands with her right foot on the serpent with the apple of knowledge, which enwinds the globe of the earth. This depiction formulates the threat of evil to the world and shows Mary as victress through the grace of Christ's birth.
Height: 45 cm
Female nude
Bronze burnished, inscribed, and dated Hans Hubert Dietsch - Sachsenhausen, Berlin 1926
Height: 64 cm
Height: 64 cm
Venus and Cupid
17th century, attributed to Adam Lenkhardt
Ivory, fully sculpted.
On an octagonal wooden base stands the goddess Venus, dressed only in a loincloth, looking down lovingly on the Armor boy who, smiling triumphantly, hands her the Apple of Paris.
This high-quality small sculpture is traditionally attributed to Adam Lenkhardt (Würzburg 1610—1661 Vienna), one of the important representatives of Baroque ivory carving.
After apprenticing under his father, Nikolaus Lenkhardt, Adam travelled through Italy and settled in Vienna in 1638, where he advanced to become the chamber sculptor to Prince Karl Eusebius of Liechtenstein from 1642 to 1660. He created very high-quality small sculptures with both profane and sacred motifs.
Height 31,5 cm.
Ivory, fully sculpted.
On an octagonal wooden base stands the goddess Venus, dressed only in a loincloth, looking down lovingly on the Armor boy who, smiling triumphantly, hands her the Apple of Paris.
This high-quality small sculpture is traditionally attributed to Adam Lenkhardt (Würzburg 1610—1661 Vienna), one of the important representatives of Baroque ivory carving.
After apprenticing under his father, Nikolaus Lenkhardt, Adam travelled through Italy and settled in Vienna in 1638, where he advanced to become the chamber sculptor to Prince Karl Eusebius of Liechtenstein from 1642 to 1660. He created very high-quality small sculptures with both profane and sacred motifs.
Height 31,5 cm.
Powerful large pair of putti
Mondsee Monastery / Salzburg, Meinrad Guggenbichler, around 1700
Lime wood, carved. The original colouring and gilding has been preserved.
Johann Meinrad Guggenbichler (Einsiedeln 1649 - 1723 Mondsee) was the son of a stone sculptor and master builder who was apprenticed in Dillingen. From 1678 he worked as a monastery sculptor for Mondsee Monastery. The successful, highly esteemed M. Guggenbichler received important commissions from the Prince-Bishop of Salzburg from 1700 onwards.
The large sculptures shown here could have been assistant figures from an altar or architectural elements of a profane, princely room decoration.
Height 70 cm, width 38 cm.
Lime wood, carved. The original colouring and gilding has been preserved.
Johann Meinrad Guggenbichler (Einsiedeln 1649 - 1723 Mondsee) was the son of a stone sculptor and master builder who was apprenticed in Dillingen. From 1678 he worked as a monastery sculptor for Mondsee Monastery. The successful, highly esteemed M. Guggenbichler received important commissions from the Prince-Bishop of Salzburg from 1700 onwards.
The large sculptures shown here could have been assistant figures from an altar or architectural elements of a profane, princely room decoration.
Height 70 cm, width 38 cm.
Very high quality figure of the Virgin Mary with Infant Jesus
Upper Swabia,around 1630, attributed to Jörg and Michael Zürn.
The fully sculpted Madonna of Iime wood stands on a richly curved pedestal with the Christ Child in her arms.
Lush folds of her garment frame the intimate depiction of the mother with her child. With a sceptre in her hand, she gracefully yet dignifiedly points to the miracle on her arm. The Christ Child looks at the viewer and, with the globe in his hand, is the expression of divine grace.
From the important workshop of the Zürn family of sculptors on Lake Constance, in addition to large ecclesiastical commissions, such as the altar of the Virgin Mary in Überlingen Minster and works in Salem Monastery, sculptures have survived that were more for private devotion.
Height 22.5 cm.
The fully sculpted Madonna of Iime wood stands on a richly curved pedestal with the Christ Child in her arms.
Lush folds of her garment frame the intimate depiction of the mother with her child. With a sceptre in her hand, she gracefully yet dignifiedly points to the miracle on her arm. The Christ Child looks at the viewer and, with the globe in his hand, is the expression of divine grace.
From the important workshop of the Zürn family of sculptors on Lake Constance, in addition to large ecclesiastical commissions, such as the altar of the Virgin Mary in Überlingen Minster and works in Salem Monastery, sculptures have survived that were more for private devotion.
Height 22.5 cm.
Full-sculptured lying Iion
Austria, probably Tyrol, around 1700
The very vividly carved recumbent Iion in walnut shows fine fur markings over its entire surface. The original patina has survived very well on the sculpture.
It is difficult to say whether this small sculpture was used for a work of art, an unusual piece of furniture or decoration in a room.
Length 40 cm.
The very vividly carved recumbent Iion in walnut shows fine fur markings over its entire surface. The original patina has survived very well on the sculpture.
It is difficult to say whether this small sculpture was used for a work of art, an unusual piece of furniture or decoration in a room.
Length 40 cm.
Miniature heads of two winged puttl
Naples, mid-18th century
The busts of the putti are made of fired clay and finely painted.
The chubby-cheeked pair of angels is equipped with strong wings and has the original setting from the period of origin.
The small sculpture shows the high artistry of the Neapolitan artists, who were famous in the 18th century for their cots, the accompanying figures, animals, architecture and accessories with bright colours.
Our pair of putti could have hovered as a crowning glory above the cot with the baby Jesus lying in it at the stable of Bethlehem.
Height 7.5 cm, width 7.5 cm.
The busts of the putti are made of fired clay and finely painted.
The chubby-cheeked pair of angels is equipped with strong wings and has the original setting from the period of origin.
The small sculpture shows the high artistry of the Neapolitan artists, who were famous in the 18th century for their cots, the accompanying figures, animals, architecture and accessories with bright colours.
Our pair of putti could have hovered as a crowning glory above the cot with the baby Jesus lying in it at the stable of Bethlehem.
Height 7.5 cm, width 7.5 cm.
Putti couple with fruit bowl
Vienna, Theodor Friedl around 1870
Inscribed on the base “fecit T. Friedl” and “Gegossen J.C. Hennick”.
The large-format cast made of gold-plated metal shows two fully plastic, lively putti attentively carrying a bowl of fruit. In the spirit of baroque sculpture, that moment of movement is captured here with virtuosity in which the greatest tension lies - both physically and mentally. In the watchful eyes of the putti, the greatest concentration is on balancing the sweet but heavy harvest on the tray.
Friedl (Vienna 1842-1900 Kirchau / Lower Austria) studied at the Vienna Academy of Fine Arts and created numerous sculptures. His main works are the marble steed taming groups on Maria-Theresien-Platz in Vienna, other sculptures and architectural sculptures can be found in Hamburg, Budapest, Augsburg and Prague.
Height 92 cm.
Inscribed on the base “fecit T. Friedl” and “Gegossen J.C. Hennick”.
The large-format cast made of gold-plated metal shows two fully plastic, lively putti attentively carrying a bowl of fruit. In the spirit of baroque sculpture, that moment of movement is captured here with virtuosity in which the greatest tension lies - both physically and mentally. In the watchful eyes of the putti, the greatest concentration is on balancing the sweet but heavy harvest on the tray.
Friedl (Vienna 1842-1900 Kirchau / Lower Austria) studied at the Vienna Academy of Fine Arts and created numerous sculptures. His main works are the marble steed taming groups on Maria-Theresien-Platz in Vienna, other sculptures and architectural sculptures can be found in Hamburg, Budapest, Augsburg and Prague.
Height 92 cm.
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