ATTRIBUTED TO BENEDIKT WURZELBAUER (1548-1620), CIRCA 1600
ATTRIBUTED TO BENEDIKT WURZELBAUER (1548-1620), CIRCA 1600
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Property from the Abbott-Guggenheim Collection
ATTRIBUTED TO BENEDIKT WURZELBAUER (1548-1620), CIRCA 1600

A BRONZE FIGURE OF NEPTUNE

Details
ATTRIBUTED TO BENEDIKT WURZELBAUER (1548-1620), CIRCA 1600
A BRONZE FIGURE OF NEPTUNE
Formerly a fountain, with printed paper label to underside Julius Böhler Munich and inscribed in ink E/97/0007
29 in. (73.7 cm.) high
Provenance
Private collection, Switzerland.
with Julius Böhler, Munich, 1998.
Literature
Apollo, CXLVII, 433, March 1998 (advertisement).
M. Schwartz, ed., European Sculpture from the Abbott Guggenheim Collection, New York, 2008, pp. 156-157, no. 82.

COMPARATIVE LITERATURE:
H. Weihrauch, Europäische Bronzestatuetten, 15-18. Jahrhundert, Brunswick, 1967, pp. 325-328, figs. 396 and 399.
J. Chipps-Smith, German sculpture of the later Renaissance, c. 1520-1580, Princeton, 1994, pp. 198-244.
Exhibited
Blumka Gallery, New York, Collecting Treasures of the Past, New York, 26 January-11 February 2000, no. 44.

Lot Essay

Grandson and nephew of Pankraz and Georg Labenwolf, Benedikt Wurzelbauer (1548-1620) is best known for his work on public fountains. As a bronze caster rather than a sculptor, his works can be very different from one another, since the designs were most probably supplied by various artists. The genius of Wurzelbauer was however his ability to develop a consistent style through his casting technique. By far his most prominent work is the Fountain of the Virtues (1583-1589), which is still today one of the landmarks of the city of Nuremberg. Cast and signed by Wurzelbauer, this fountain is an emblem of early public art and civic allegory of good government; and it is reminiscent in its attention to details and extensive decoration to the style of Wenzel Jamnitzer.

Several versions of this Neptune bronze exist in museum collections, including the J. P. Getty Museum and the Huntington Art Gallery which both ascribe their cast to Wurzelbauer. In its many variations, this model exemplifies his combination of German Renaissance forms and Italian-inspired Mannerism which translate in Neptune’s slender musculature and undulating beard. Like the other versions, the present bronze was likely part of a domestic fountain. The intricate fineness of Neptune’s facial expression and the richness of the patina make it a particularly admirable example of German Renaissance sculpture.

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