Albert Güldenstein

Albert Güldenstein around 1870

Albert Güldenstein (born January 3, 1822 in Sontheim , † May 25, 1891 in Stuttgart ; actually Abraham Isaak Güldenstein ) was a Württemberg sculptor of regional importance. His main works are naturalistic animal sculptures and animal sculptural applications on candelabra and fountains for the Stuttgart castles Villa Berg , Schloss Rosenstein and Wilhelma . In his gravestone, memorial and fountain figures, he is caught up in his classical training.

life and work

Information without proof is preferably based on Müller-Klunzinger , alternatively on the AKL .

origin

Albert Güldenstein was born on January 3, 1822 in Sontheim to Jewish parents. His father was the merchant Isak Michael Güldenstein (1777–1861), his mother Karoline Güldenstein geb. Gressle (1792-1858) from Affaltrach . The paternal family probably descends from one of the protective Jews who were settled in Sontheim by the Teutonic Order in the 16th century. Albert was the eighth child of the 16 children in the marriage in 1811. His older brother Bernhard Güldenstein (1819–1873) was a master weaver and moved to Stuttgart around 1855, where Albert had lived since 1849. He initially ran a straw manufacture there and later worked as a broker. The second oldest brother Michael Güldenstein (1814–1861) was district rabbi in Bad Buchau from 1841 until his death .

His Jewish ancestry does not seem to have harmed Güldenstein, neither in his training nor with his clients. In all files that deal with his person or the lordly orders to him, it is not even mentioned that he is Jewish, and subliminal, negative allusions are also completely absent. Even in contemporary press publications, except in the Allgemeine Zeitung des Judentums , there is no mention of Güldenstein's Jewish origin.

Training and career entry

Little is known about Güldenstein's childhood and school education. He showed "a lively spirit and talent for drawing" and attended school in Sontheim. Then he did an apprenticeship as an engraver in the Bruckmann silver goods factory in Heilbronn .

Munich (1840–1843)

In 1840 he began an apprenticeship as a chaser with the sculptor Ludwig Schwanthaler in Munich. After a year it was used by Schwanthaler for sculpting work, because he "had used his free time for composing". At the age of 20, on November 5, 1842, he entered the sculpture class of the Academy of Fine Arts in Munich , where Schwanthaler also taught as a professor. The claim that Güldenstein was a pupil of Schwanthaler (in sculpture) was vehemently rejected by his brother Michael in the Allgemeine Zeitung des Judentums in 1846, in fact he was a “pupil of the royal art school in Stuttgart”.

Stuttgart (1843–1847) and Berlin (1845)

In 1843 Güldenstein moved to Stuttgart and attended the art school there as a student of the sculptor Theodor von Wagner . He created a bas-relief depicting a scene from the Flood that received general recognition. In 1845 he applied for support from the art travel fund "For a year-long stay in Berlin [...], where he wanted to apply for the Beer'sche travel grant of 500 Prussian Thalers donated for Israelite art pupils through a competition work to be produced there . "The art school management approved the motion in view of the fact that" he had shown an excellent talent for sculpture through a bas-relief made in the art school in the previous year and this was also certified by his more recent studies in that institution. " April, a travel grant of 400 guilders was awarded. Güldenstein went to Berlin, created a relief or a sculpture there as a competition work and won the Rome Prize of the Michael Beer Foundation, which had been awarded to Jewish artists since 1833 to enable them to go on a year-long study trip to Italy. However, he was only able to start the trip to Italy two years later because he was now waiting for stately orders in his homeland.

Güldenstein's first group of animals for Wilhelma

At the beginning of 1846 he worked temporarily in his home town of Sontheim on "a larger work of art, the subject of which is supposed to be an Old Testament." Back in Stuttgart, Crown Prince Karl I commissioned him to make sculptures for his new Villa Berg . For this purpose, Charles I let him set up his own studio. In the course of 1847 King Wilhelm I visited Güldenstein in his workshop to see this work. He also saw some groups of animals that Güldenstein had modeled and gave him the task of creating a counterpart to the group of animals that was set up in the Wilhelma and was made by an unknown Italian sculptor. While still in Stuttgart, Güldenstein created a model of the group of animals that was applauded by the king.

Rome (1847–1848)

At the end of July 1847, Güldenstein left for Rome, where he arrived on November 18, 1847. During his stay in Rome he became a member of the German Artists Association, but does not seem to have left any other traces. In Rome he made the animal group for King Wilhelm I in Carrara marble. In view of the revolutionary unrest, he left Rome at the end of 1848.

Working life

In 1849 Güldenstein returned to Stuttgart, where he settled until the end of his life. Until he bought his first house of his own in 1854, he lived in five different rental apartments, all of which were centrally located in the vicinity of the New Palace .

Major works

When Güldenstein returned to Stuttgart, the signs were favorable for the young sculptor. King Wilhelm was very satisfied with the first group of animals that Güldenstein had created for him, and his first work for Villa Berg was also well received. There was plenty of work to be done on further furnishing Wilhelma and its gardens, for Villa Berg and for Schloss Rosenstein , and Güldenstein was well supplied with orders in the 1850s. During this time he created his main works, all of which were commissioned by the king and crown prince: the nymph fountain for Villa Berg, eight other animal groups for Wilhelma, and six candelabra, two lions and two reclining colossal deer for Rosenstein Castle.

Munich industrial exhibition 1854

In 1854 the First General German Industrial Exhibition took place in Munich . Güldenstein exhibited together with the Stuttgart art caster Wilhelm Pelargus a second cast of the deer group , which was intended for the Cologne merchant W. Meurer , and two candelabra intended for Rosenstein Castle, also "depicting two figurines" Winter and Spring ". In the report of the “Assessment Commission” it was said: “As lively as the groups of animals are and so skilfully put together, the execution must be called a very poor one. The same can be said of the two figurines. ”Nonetheless, Güldenstein received an honorable mention“ because of the liveliness in his groups of animals ”and Pelargus“ for his appreciable zinc castings of groups of animals and figures ”. In a request to King Wilhelm Güldenstein reports on the success of his contributions to the exhibition: "Returned from Munich for 14 days, where I brought various models to the exhibition that enjoyed the applause of high and high-ranking people as well as many artists [...]".

Application for the title of professor

Apparently Güldenstein had realized in Munich, “how much a happy market of names, Titel u. The rank of an exhibitor is made dependent ”, and therefore directed the“ most insubordinate request [...] to King Wilhelm for the title of professor without salary; because of his intercourse with abroad, and the students of the Sontags-Handwerk-Schule zu Stuttgart ”(in January 1853 he had started giving“ modeling lessons for young gold and silver workers, ciseleurs, engravers, etc. ”). The king had nothing to remember against the “title award”, but had his officials investigate possible obstacles. Despite a positive assessment, Güldenstein was refused the title because, under the same premises, many others would also have been granted the title of professor.

photographer

Güldenstein seems to have made friends with the emerging technology of photography early on. In the trade and commercial address book of the Kingdom of Württemberg from 1855, he traded as “Sculptor u. Owner of a photographic establishment, Neckarstr. 42 ". Apparently he also used photography as a marketing tool. In 1863 he asked King Wilhelm to be allowed to show him "the photographs of some groups of animals he had recently modeled".

Period from 1860

Advertisement in the Stuttgart address book 1870 (bottom left)

In the 1860s led Güldenstein (if known) are two stately orders: two bears groups for the Deer Park at Bärenschlössle and the figure of a "gift giver" for the Villa Berg . Well-known private commissions from this period include: the Heilbronnia for the Fleinertorbrunnen in Heilbronn and a medallion portrait of Moses Mendelssohn at the Israelite school in Laupheim. In 1882 he created a five-part relief in memory of his patron King Wilhelm, who died in 1864 , which he attached to his home at Hoppenlaustraße 23.

An important source of income was the making of tombs and the bread and butter business of many sculptors. Of the few works by Güldenstein known by name, only the pilgrim statue on the grave of the Pilger family in Heilbronn is open to the public, two other grave statues are kept in the lapidarium of the city of Heilbronn. The other known funerary works of art by Güldenstein are no longer available today.

income

Güldenstein brought it with its stately orders on considerable income. For example, he received

• 8400 guilders for 2 groups of cast zinc animals
• 3200 guilders for 2 lying deer
• 7200 guilders for 4 groups of marble animals
• 2898 guilders for the marble animal group "Lion defending his cub"

In 1854, his good income allowed him to “acquire a small property at the end of Neckarstrasse” (Neckarstrasse 62). In 1863 he sold the previous house and bought another house at Hoppenlaustraße 21. In addition, in 1868 he built the house next to this house at Hoppenlaustraße 23. In addition to the good professional income, the rental income from his two houses provided a secure pension. Güldenstein was one of the wealthy citizens of Stuttgart. An outward sign of his prosperity, but also of his ties to his homeland, was a foundation worth 500 marks, which he set up “for the poor without distinction of creed” in his birthplace Sontheim.

Memberships and honors

Güldenstein was a member of the Stuttgart artist society "Das Bergwerk", founded in 1850, to which he belonged almost from the start, and whose list of members from 1890 reads like a who's who of the Stuttgart art world. He was not a member of the Württembergischer Kunstverein , which was founded in 1827 , but was a member of the association's artist committee in the 1850s.

He received honors:

• the Rome Prize of the Michael Beer Foundation
• the Austrian Golden Cross of Merit with the crown
• in his birthplace, the Heilbronn district of Sontheim, Güldensteinstrasse was named after him in 1955

family

Albert Güldenstein married Charlotte Chailly (1836–1899), a Jew, 14 years his junior, on September 1, 1856 in Stuttgart . The couple had lived separately since 1859 at the latest, and the marriage was divorced between 1859 and 1861. On December 10, 1861, Güldenstein married the six years older Jewish widow Rosalie Hochberger born in Stuttgart . Thalheimer (1816-1892), whose first marriage was to the Esslingen innkeeper Raphael Hochberger (1815-1854). Both marriages remained childless.

death

Güldenstein's tomb in the Prague cemetery

Güldenstein died at the age of 69 on May 25, 1891 in Stuttgart. No obituary appeared about him, only an obituary notice in the Swabian Kronik . He had already sold the house at Hoppenlaustraße 21 three years before his death, and his wife also sold the other house after his death. When she died a year after her husband on July 18, 1892 at the age of 76, she rented the old house. It is not known who inherited the childless couple. Güldenstein and his second wife are buried in the Israelite part of the Prague cemetery (grave no. II-V-882/883).

Works

Güldenstein mainly created sculptural animal or human figures and groups of animals, but also reliefs and portrait medallions. So far, only two sheets of his drawing work in the album of the artist society “Das Bergwerk” have become known.

His main works include the animal groups for Wilhelma, the nymph fountain on the east facade of Villa Berg , six candelabra, two lions and two deer for Rosenstein Castle , the pilgrim statue for the grave of the Pilger family in Heilbronn and the figure of Heilbronnia originally used as a fountain figure . The pair of lions and deer were destroyed in World War II, and the lions, originally cast in zinc, were replaced by sandstone replicas. All but one of the animal groups in the Wilhelma have been preserved.

The importance of some works of art can no longer be estimated today because they have been lost and no photos or other representations of them have survived, this is particularly true for the Triumphfontaine of Emperor Napoleon III. Four reliefs for Villa Berg, the gifts of donor , two bears groups and relief in honor of King William .

An important source of income was the making of tombs, the bread and butter business of many sculptors. Of Güldenstein's few tomb works known by name, only the pilgrim statue and a mourner survived .

Main works passed down

Pilgrim statue (from 1846)

Statue of a pilgrim or the apostle Jakobus on the grave of the Pilger family, marble (?), Year of origin from 1846. Location: Heilbronn, old cemetery , northwest of the Kaiser Wilhelm monument, slightly hidden under a tall ash tree. See also: Seated James .

A bald-headed man with a long beard and long hair on the back of his head leans cross-legged against a tree stump on which he has put his hat. He wears a cowl with cape and hood and is belted with a rope on which a drinking bottle hangs. The scallops, the pilgrim's bottle and the pilgrim's hat identify the figure as the apostle James or a pilgrim.

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  Left view

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  view from the right

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  Front view

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  Rear view

Literature: AKL ; Heitlinger 2007 ; NN 1865 , p. 162.

Panther jumping on the back of a gazelle (1848)

Sculpture made of Carrara marble, year of origin 1848, inscribed: “A. Güldenstein. Rome. 1848. “Location: Stuttgart, Wilhelma , right in front of the Moorish country house .

This was the first of nine groups of animals that Güldenstein was allowed to make for King Wilhelm .

Nymph Fountain (1851)

Model by Güldenstein based on a design by Christian Friedrich von Leins , the architect of Villa Berg, cast bronze in the Wasseralfingen ironworks, year of construction 1851. Location: Stuttgart, Villa Berg , east facade. Conservation status: good, the antlers of one deer have broken off.

Half of the three-shell fountain protrudes over the east terrace of Villa Berg , so that its water could flow into the basin at ground level in front of the substructure. The lower shell bears a cross-shaped stone base with four console capitals on which the Württemberg heraldic animals are enthroned, two lions and two deer, the lions in threatening posture and with their jaws torn open and alternating with two roaring deer. Above the middle shell, four naked nymphs crowd around the richly profiled fountain stick, which is decorated with fish, mussels and water snails. You have just got out of the bath and are untying your flowing hair again. A naked genius stands casually on the upper shell. With his right arm he balances an amphora on his head and with the other he pats a wing-swinging swan, which, with its beak open, eagerly winds its long neck towards the amphora in order to catch a jet of water from it.

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  View from the east

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  View from the east

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  View from the south

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  View from the southeast, around 1850

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  View from the north, 1853

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  View from the east, around 1870

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  View from the south, around 1880

Literature: B 1007 Bü 1141 ; Bach 1900 , p. 319; Büchele 1858 , pp. 297-298, 304; Dehio 1993 , p. 760; Gohl 2007 , pp. 32-36, 172; Müller 1851 ; Petzold 1989 ; Wais 1954 , p. 60; Wenger 2003 , p. 33.

Three groups of animals in cast zinc (1851-1853)

Deer attacked by three wolves

Originally bronzed zinc sculptures, made 1851–1853. Location: Stuttgart, Wilhelma , between the Maurisches Landhaus and Belvedere: Deer attacked by three wolves Bear hats Pigs.

Two lions with a ball (1852)

Sandstone replica

Bronze cast zinc by Wilhelm Pelargus based on models by Güldenstein, year of origin 1852. Location: Stuttgart, Rosenstein Castle, main entrance. Lost after the Second World War, replaced in 1960 by replicas in Stubensandstein by Hermann Brellochs .

Literature: E 14 Bü 202 , No. 5-6; Bach 1900 , p. 319; Büchele 1858 , p. 251; Dehio 1993 , p. 26; Harling 1993 , pp. 10-11; Kress 1987 , p. 104; Wais 1954 , p. 41.

Candelabra, Villa Berg (1853)

Four candelabra based on a design by Christian Friedrich von Leins or Paul Wirth (1821–1870). Figure and animal models by Albert Güldenstein, ornaments by the Wasseralfinger modeller Jakob Offinger, burnished cast iron, cast in the Wasseralfingen ironworks, on a two-step, barrel-shaped sandstone base, height without base approx. 390 cm, year of creation 1853 (casting). Location: Stuttgart, Villa Berg , at the ends of the driveway to the south terrace. Conservation condition: good, various rust spots, feet partially overgrown by plants, one foot partially sprayed with red paint.

The candelabra rest on a richly ornamented, triangular base with a chimera on each corner and allegorical boys' figures on the sides, which represent science, war and agriculture (allegories of the teaching, military and nutritional status). The chimeras carry the head of a panther with a long, pointed antelope horn growing out of its skull. The horns of each two chimeras are held together by a ring at the top so that they form an arch over the boys' figures. The chimera head turns into a swollen chest, which finally mutates into a huge paw.

The round shaft is initially profiled several times and decorated with plant ornaments throughout. The fluted main part merges into a narrow capital decorated with leaves and rosettes, the volute-like consoles of which are crowned by lions' heads. Above the capital, the shaft widens to a plate on which the three lampholders are enthroned. The kneeling nymphs stretch their bare chests upwards and hold up the lanterns with the frosted glass balls with their wide-reaching arms.

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  Candelabra on the western driveway

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  Upper half of a candelabra

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  Candelabra with an allegory of the natural sciences

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  Candelabra with allegory of agriculture

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  Candelabra with allegory of the defensive position

Literature: B 1007 Bü 1141 ; Büchele 1858 , p. 298; Müller 1851 , p. 283; NN 1854.1 , p. 344; NN 1854.1 , p. 26; Schümann 1973 , p. 85 fig. 55.

Candelabra, Rosenstein Castle (1853/1854)

Various types of candelabra with chimeric animal figures and ornamental decorations based on Greek-Pompeian patterns, zinc casting by Wilhelm Pelargus based on models by Güldenstein, year of origin 1853/1854. Location: Stuttgart, Rosenstein Castle, at the main entrance.

• Main candelabra: Two candelabra to the right and left of the main entrance, triangular base with three chimeras (winged lions with ram horns), round, richly ornamented column shaft with three herons.
• Side candelabra: four candelabra, two each on the two side ramps to the main entrance, foot with three chimeras (lion bath with wings, ram horns and dragon crest, ending in a lion's paw), round, almost unadorned column shaft.
• Hunting candelabra: "with night owls, poultry, deer, joined together by the antlers", lost.

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  One main candelabra in front, two side candelabra in back

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  Candelabra and sandstone lions

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  Main candelabra, base and part of the shaft

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  Shank of a main candelabra

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  Base of a side candelabra

Literature: E 14 Bü 192 , No. 120, 121, 124; E 14 Bü 194 , October 10, 1854; E 14 Bü 202 , 1853 & 1854, No. 47; E 21 Bü 260 , No. 55-59; E 21 Bü 263 , No. 69-74, 78-83, 86; Büchele 1858 , p. 251; Harling 1993 ; Wais 1954 , p. 41.

Five groups of animals in marble (1856/1857)

Hyena with a stolen lamb

Carrara marble sculptures: Lion defending his cub (lost) Two gazelles Hyena with a stolen lamb Tiger fighting a snake Lion striding forward with head bent sideways. For more details see: Animal sculptures (Wilhelma) .

Other works

Deluge (1843)

Bas-relief, depicting a scene from the flood, year of origin 1843. Location: lost.

Güldenstein modeled his first work in 1843 at the art school in Stuttgart under Theodor von Wagner . The management of the art school judged “that he had shown an excellent talent for sculpture through a […] made in the art school […].” Mainly because of this work, Güldenstein was awarded a scholarship for a trip to Berlin worth 400 guilders.

Literature: E 14 Bü 1501 , No. 19; Wininger 1927 .

Angel figure with peace palm (from 1846)

Floating angel figure with peace palm for the grave of Stuttgart's Lord Mayor Willibald Ehregott Feuerlein (1781–1850) and his wife Auguste Henriette, née. Schott (1792–1846), bronze, year of origin from 1846. Location: Stuttgart, Hoppenlaufriedhof . The tomb is still there, Güldenstein's sculpture is lost.

Literature: Pfeiffer 1912 .

Female figure with a cross (from 1848)

Small female figure with a cross for the grave of Heilbronn's city music director CK Kunze (1765–1848), year of origin from 1843. Location: originally: Heilbronn, Alter Friedhof, cleared in 1947.

Literature: Renz 1995 .

Christian Friedrich Leins (from 1849)

Plaster medallion, year of origin from 1849. Location: whereabouts unknown.

Literature: Wintterlin 1895 .

Death of Philippo Lippi (1851)

Caricature, pencil and pen, year of origin 1851, signed: "Güldenstein 1851 Sept.", inscribed: "Fragment from the time of the Medicäer / Todt of Philippo Lippi based on the theme: because he paints etc.". Location: Stuttgart, City Archives, 9910-53, album "Glück auf!" By the artist society "Das Bergwerk", p. 7.

On September 19, 1851, the first performance of the play “Filippo Lippi” by Heinrich Rustige , who like Güldenstein was a member of the “mine”, took place in the Stuttgart court theater . The caricature shows the final scene of the drama in which Filippo Lippi , the lion, dies of a poisoned wine drink. Presumably the actor, court theater director and poet Feodor Löwe , also a member of the mine, played the role of Lippi. The man at Lippi probably represents Fra Diamante , Lippi's pupil and heir.

Literature: Hengstenberg 2003 ; Rustige 1851 .

Two fighting lions (1851-1853)

Pencil drawing, year of origin between 1851 and 1853, signed: “Güldenstein”, inscribed: “Macbeth. / last scene. ". Location: Stuttgart, City Archives, 9910-53, album "Glück auf!" By the artist society "Das Bergwerk", p. 18.

Two lying deer (1851/1852)

Bronze cast zinc by Wilhelm Pelargus based on models by Güldenstein, year of origin 1851/1852. Location: Stuttgart, Rosenstein Castle, rear side (northeast facade), lost after the Second World War.

Literature: E 14 Bü 192 , No. 118, 121; E 14 Bü 202 , 1851 & 1852, No. 22; E 21 Bü 263 , No. 62-74; Büchele 1858 , p. 251; Kress 1987 , p. 104.

"Winter" and "Spring" (1854)

Two allegorical figurines that were exhibited at the First General German Industrial Exhibition in Munich in 1854. Year of origin 1854. Location: whereabouts unknown.

• Winter: farmer boy with fur hat, lederhosen and snowball
• Spring: peasant girl with flowers.

Literature: Hermann 1855 , p. 12; L. 1857 .

Ram bowl (1854)

Zinc casting by Wilhelm Pelargus based on a model by Güldenstein, large bowl carried by animal figures with rams' heads based on an ancient vessel in the Munich Glyptothek , year of origin 1854. Location: originally: Stuttgart, Rosenstein Castle , in a basin in one of the two courtyards, since Lost World War II.

Literature: AKL ; E 21 Bü 263 , No. 77; Büchele 1858 , p. 251.

Triumphfontaine of Emperor Napoleon III. (1857)

In September 1857 King Wilhelm had the Russian Tsar Alexander II and the French Emperor Napoleon III in Stuttgart . to guest. The now lost Triumphfontaine, about which nothing else is known, was probably created for this occasion. Year of origin 1857. Location: lost.

Literature: AKL ; Gohl 2007 , p. 16; Müller-Klunzinger .

Two sitting dogs (before 1858)

Zinc casting by Wilhelm Pelargus based on models by Güldenstein, painted over black , life-size images of Crown Prince Karl's favorite dogs, year of origin before 1858. Location: originally Stuttgart, Villa Berg , at the foot of the two stairs to the western terrace, lost since the Second World War.

Illustration: West staircase of Villa Berg with the dogs sitting, around 1930.

Literature: AKL ; Büchele 1858 , p. 301; Gohl 2007 , p. 37, illustrations: p. 41–42, 124; Kress 1987 , p. 105.

Four reliefs (before 1858)

Four reliefs with ancient mythological scenes, date of origin before 1858. Location: originally Stuttgart, Villa Berg , destroyed in World War II.

Literature: AKL ; Büchele 1858 , p. 303.

Heilbronnia (1860)

Fleinertorbrunnen with Heilbronnia, 1900

Allegorical statue of Heilbronnia , sandstone, 1.50 cm high, year of origin 1860. Location: originally a fountain figure on the column of the Fleinertorbrunnen in Heilbronn, damaged and cleared in a storm in 1904, today Heilbronn, City Archives , Lapidarium, E020-110.

Literature: AKL ; Schwinghammer 2005 , p. 85, Heilbronner Tagblatt No. 271 of November 15, 1860, p. 1416.

Donor (1863)

Female figure, cast zinc by Wilhelm Pelargus based on a model by Güldenstein, year of creation 1863. Location: originally Stuttgart, Villa Berg , now lost.

Literature: AKL ; E 14 Bü 33 , No. 25; E 14 Bü 203 , 1861-1865, No. 39.

Two groups of bears (1863/1864)

Bärenschlössle, before 1887, left and right of the stairs each with a bear sculpture by Güldenstein

Zinc cast by Wilhelm Pelargus based on models by Güldenstein, first version: 7 feet high, second version: 4 feet high, year of origin 1863; Price 3,250 guilders. Location: originally Stuttgart, deer park near Bärenschlössle , now lost.

Literature: E 14 Bü 203 , 1861-1865, No. 47; E 14 Bü 203 , 1861-1865, No. 54.9. November 1863, January 19, 1864.

Mourners (1867)

Seated mourners with amphora, wreath and lyre, marble, 80 cm high, inscribed: “A. Güldenstein 1867 ”, year of origin 1867. Location: originally grave figure on an unknown grave, today Heilbronn, City Archives, Lapidarium, E020-208.

Literature: AKL .

Moses Mendelssohn (1869)

Portrait medallion by Moses Mendelssohn , year of origin 1869. Location: originally Laupheim, Israelite schoolhouse (demolished in 1970), whereabouts of the medallion unknown.

Literature: AKL .

Bernhard Molique grave (1869)

Bernhard Molique's tomb in the Uffkirchhof

Bernhard Molique's grave , created in 1869. Location: originally Stuttgart, Uffkirchhof , grave cleared in 1968, replaced by a modern grave platform.

Literature: AKL ; NN 1884 , p. 1887; Thieme-Becker .

Sculpture jewelry Crédit Suisse Bank (around 1873)

Sculpture decorations on the building of the Crédit Suisse Bank (formerly Schweizerische Kreditanstalt ), sandstone (?), Year of origin around 1873. Location: Zurich, Paradeplatz 8.

Literature: AKL ; Joanovits 2002 .

Grave of Wilhelm von Sick (from 1881)

Portrait medallion on the grave of Wilhelm von Sick (1811–1881), year of origin from 1881. Location: Stuttgart, Pragfriedhof , grave can no longer be found.

Literature: Klöpping 1996 ; NN 1884 , p. 1887.

Praying Genius (1881)

Exhibited in 1881 at the Württemberg State Trade Exhibition in Stuttgart, no further details are known, year of origin 1881. Location: unknown.

Literature: NN 1881 .

Relief in honor of King Wilhelm (1881/1882)

Relief of five tablets as an expression of gratitude for King Wilhelm , who died in 1864 , cement cast and marble, year of origin 1881/1882, location: originally Stuttgart, Hoppenlaustr. 23, on the cornice of Güldenstein's house, lost after the house was demolished.

Literature: AKL ; NN 1881 ; NN 1882 ; Thieme-Becker .

Attributions

Two incorrect work attributions to Güldenstein are known:

• the lion on the lion gate
• the nymph from the former nymph fountain in the park of Villa Berg

and three unproven attributions:

• Putti reliefs
• Dolphin reliefs
• Sitting James

Putti reliefs (around 1851)

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  Putti relief with a lion

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  Cherub relief with a deer

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  Arrows = position of the reliefs

Two square high reliefs with an ornamental frame, based on designs by Paul Wirth (1821–1870), probably made by Albert Güldenstein, sandstone, height approx. 58 cm, width approx. 52 cm, made around 1851, Stuttgart, Villa Berg , east facade, Ground floor, in the portal aedicula above the base zone between two coupled columns on both sides of the portal.

The reliefs take up the heraldic animal motif of the nymph fountain, which closes off the terrace opposite the aedicula.

• Left relief: The relief shows a winged, naked putto , who sits cross-legged and slumbering peacefully on a reclining lion, one of the two heraldic animals of Württemberg. The putto rests his head on his bent left arm, which he leans against the lion's skull, and he trustingly places his right hand on the lion's rear.

• Right relief: a winged, naked putto crouches in the lady's seat on the back of a stag, the other heraldic animal of Württemberg, which has sat down on the ground like a camel. The sleeping putto clutches with his hands to an antler pole of the eight-tender, which proudly extends its chest.

Both reliefs are set into a wide frame like a picture, which consists of a ribbon with volute tendrils and two alternating flower motifs.

The attribution to Güldenstein is not secured by clear evidence. According to Müller in 1851 , the sculptures of Villa Berg were carried out by "Güldenstein and Zell etc." Güldenstein specialized in animal sculptures and also created the models for the nymph fountain with the Württemberg heraldic animals in the lower shell. It can therefore be assumed that Güldenstein received the order for the nymph fountain and high reliefs together.

Literature: Müller 1851 , p. 322, middle column, footnote.

Dolphin reliefs (around 1851)

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  left dolphin relief

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  right dolphin relief

• 

  Arrows = position of the reliefs

Two arched high reliefs with a profiled frame, based on designs by Paul Wirth (1821–1870), probably executed by Albert Güldenstein, sandstone, dimensions unknown, year of creation around 1851, Stuttgart, Villa Berg , east facade, ground floor, in the arched spandrels of the portal Aedicula .

The reliefs take up the marine animal theme of the nymph fountain, which closes off the terrace opposite the aedicula. In addition to mussels and water snails, the fountain is also adorned by four dolphins, which are arranged between the nymphs.

Both reliefs show a dolphin rearing up like a snake in the right angle of the gusset. He squeezes his thick, bulging-eyed head with the big mouth into the lower corner, while the tail, which is leaf-shaped like the pectoral fin, fills the upper corner. The two reliefs differ only slightly from each other, apart from the reversal, except in the formation of the aquatic plant that wraps around the dolphin's body. Both reliefs are embedded in a simply profiled frame like a picture.

The attribution to Güldenstein is not secured by clear evidence. According to Müller in 1851 , the sculptures of Villa Berg were carried out by "Güldenstein and Zell etc." Güldenstein specialized in animal sculptures and also created the models for the nymph fountain with dolphins and other marine animals. It can therefore be assumed that Güldenstein received the order for the nymph fountain and high reliefs together.

Literature: Müller 1851 , p. 322, middle column, footnote.

Lion on the Lion Gate (1858)

Lion on the lion gate

For comparison: Lion at the New Palace

Lion holding the coat of arms, cast zinc by Wilhelm Pelargus after the coat of arms lion at the entrance to the main courtyard of the New Palace , which was created after a model by Antonio Isopi , year of origin 1858, replaced in 1992 by a bronze copy from the Strassacker art foundry in Süßen , Stuttgart, Löwentor, at the Prague entrance to Rosenstein Park.

The attribution to Güldenstein does not apply, rather the lion gate lion is an image of the heraldic lion in front of the New Castle. In fact, after this, the one was cast in plaster of paris and cast in zinc.

Literature: Harling 1993 , p. 12; Kress 1987 , p. 104.

Water-giving nymph (from around 1910)

Today's location on the Prague cemetery

Naked female nymph on a square plinth by the Düsseldorf sculptor Franz Linden (1873-1923), bronze, low rectangular stone plinth, height without plinth approx. 165 cm, year of origin around 1910, inscribed on the plinth on the left: "FRANZ LINDEN / DUESSELDORF." , originally: Stuttgart, Villa Berg , on the fountain in the rose garden, since around 1980: on the fountain in the south garden of Villa Berg on the underground car park of Südwestrundfunk , today: Stuttgart, Pragfriedhof , to the left of the historic morgue.

The naked nymph originally stood in the park of Villa Berg as a fountain figure in the rose garden in front of the backdrop of the garden belvedere, later also as a fountain figure in the south garden. She spreads her arms and lets the water trickle down into the fountain in fine jets from the two mussels she is holding. At its current location in the Prague cemetery, it has lost its function as a fountain figure.

The incorrect attribution, which can only be found in Böhm 2004 , is probably due to a confusion between the fountain and the nymph fountain on the east facade of Villa Berg, the figural decoration of which was made by Güldenstein.

Literature: Böhm 2004 , p. 35; Gohl 2007 , p. 116.

Sitting James

Seated Apostle Jakobus , Stein, year of origin unknown, Heilbronn, Böckingen district , Kirchsteige 14/1, on the site of the former cemetery, originally on the grave of a mayor in the Kirchhausen district .

In Fekete 2007 , Güldenstein is seen as a possible originator due to its stylistic relationship with the pilgrim statue in the old cemetery in Heilbronn.

Literature: Fekete 2007 .

reception

Güldenstein, who stood out mainly as an animal sculptor, suffered from a prejudice similar to that of the animal painters, who only held a middle position in the hierarchy of the painting genres. In addition, Wilhelma was closed to the public until King Wilhelm's death in 1864, and therefore hardly anyone saw Güldenstein's groups of animals. The king was evidently enthusiastic about his animal groups, otherwise he would not have had three zinc groups (1851-1853) and five more marble groups (1856/1857) follow after his first order in 1847.

However, with royal permission, Güldenstein was allowed to exhibit a cast of his deer group at the First General German Industrial Exhibition in Munich in 1854 . The response was disheartening. In the report of the “Assessment Commission” the liveliness and the skillful composition of his animal groups were praised, but the execution was criticized as inadequate. Another author blew the same horn: "The colossal groups of animals from Güldenstein in Stuttgart are lively thought, but raw in execution and restless in effect [...]." Güldenstein attributed the disparaging criticism mainly to the fact that he had no title had to show, and then tried (in vain) to get the title of professor from the king .

The only, albeit indirect, contemporary assessment of the animal sculptures can be found in Karl Büchele's Stuttgart travel guide from 1858 . He writes that the marble groups “emerged from the studio of the sculptor Güldenstein, who is well known in this genre”. Since he did not know the sculptures from his own experience at Wilhelma either, one must assume that he (and others) had viewed them in the artist's studio.

Güldenstein, as a sculptor of more regional importance, has not yet been honored in terms of art history. The AKL offers the only assessment of his work : “Güldenstein's classical training is particularly evident in the tomb figures, while the naturalistic animal sculptures are characterized by a detailed study of nature. Animal representations form the main part of his work. "

literature

Biographical reference works

• Güldenstein, Albert. In: Rudolf Vierhaus (ed.): German biographical encyclopedia (DBE). Volume 4, Munich 2006, p. 235.
• Güldenstein, Albert . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 15 : Gresse – Hanselmann . EA Seemann, Leipzig 1922, p. 198 ( Textarchiv - Internet Archive ).
• Friedrich Mueller, Karl Klunzinger : The artists of all times and peoples . tape 2 . Ebner & Seubert, Stuttgart 1860, p. 311 ( online in Google Book Search).
• Hermann Alexander Müller : Biographical Artist Lexicon . Verlag des Bibliographisches Institut, Leipzig 1882, p. 232 ( retrobibliothek.de [accessed on July 10, 2011]).
• Almanac of the painters and sculptors of Germany and Austria-Hungary , Stuttgart 1890, p. 92.
• Patricia Peschel: Güldenstein, Albert . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 64, Saur, Munich a. a. 2009, ISBN 978-3-598-23031-8 , p. 359.
• Salomon Wininger: Great Jewish National Biography . Volume 2, Cernauti 1927, p. 552 ( digitized version ).

life and work

• Max Bach: Stuttgarter Kunst 1794-1860, based on simultaneous reports, letters and memories. Stuttgart 1900, pp. 184, 319.
• Karl Büchele: Stuttgart and its surroundings for locals and foreigners. Stuttgart 1858, pp. 251, 291-292, 301, 303.
• Rainer Herzog: Wilhelma Stuttgart. Documentation of the historical and design development of the Wilhelma gardens. Stuttgart 1990, pp. 11, 12, 46, 93, 95-96.
• Wolfgang W. Kress: From tin to ore - The Stuttgart art foundry family Pekargus. In: Swabian homeland. 38.1987, pp. 104-105.
• Gerd Leibrock A sculptor from Sontheim. Albert Güldenstein (1822-1891). In: Christian Schrenk (ed.); Annette Geisler (editor): Heilbronner Köpfe VII. Life pictures from four centuries. Heilbronn 2014, pp. 91–110.
• NN: A Jewish sculptor. In: Allgemeine Zeitung des Judentums. 1886, p. 188 original , transcription .
• Friedrich Noack: Gueldenstein. In: Schedarium of the artists in Rome. [Rome] without year, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fdb.biblhertz.it%2Fnoack%2Fnoack.xq%3Fid%3D3607~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D
• Gerhard Schwinghammer; Reiner Makowski: The Heilbronn street names. Tübingen 2005, pp. 85-86.
• Gustav Wais: Stuttgarts Kunst- und Kulturdenkmale , Stuttgart [1954], pp. 41, 57–58, 60.

Individual works

For literature on the animal groups in Wilhelma, see animal sculptures (Wilhelma) .

• Hans Böhm (ed.); Ute Schmidt-Contag (illustration): Fountain in Stuttgart. Stuttgart 2004, p. 35 (Nymphenbrunnen by Franz Linden).
• Handbook of German Art Monuments , Volume Baden-Württemberg 1: The administrative districts of Stuttgart and Karlsruhe. Munich 1993, pp. 26-27, 760.
• Johann Friedrich Dürr, Theodor Ebner, ao Max Bach (artistic direction): Illustrated history of Württemberg. Stuttgart [1886].
• Julius Fekete, Simon Haag, Adelheid Hanke, Daniela Naumann: Monument topography Baden-Württemberg. Volume I.5: Heilbronn district , Stuttgart 2007, p. 169.
• G: Stuttgart . In: Deutsches Kunstblatt 8, 1857, No. 16 of April 16, p. 143, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fdigi.ub.uni-heidelberg.de%2Fdiglit%2Fdkb1857%2F0159~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D , No. 24 of June 11, p. 211, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fdigi.ub.uni-heidelberg.de%2Fdiglit%2Fdkb1857%2F0227~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D (Triumph-Fontaine des Kaiser Napoleon the Third).
• Ulrich Gohl (ed.): The Villa Berg and its park. Story and pictures. Stuttgart 2007.
• Rotraud Harling, Manfred Warth: Castle and Park Rosenstein. Stuttgart 1993, pp. 10-12, footnote 10 on p. 16 (two lions and candelabra for Rosenstein Castle).
• Maria Theresia Heitlinger: The old cemetery. Heilbronn fates. Heilbronn 2007, pp. 84–86 (pilgrim statue).
• Gisela Hengstenberg: Rübezahl in the Königsbau. The Stuttgart artists' society “Das Strahlende Bergwerk”. Stuttgart 2003, p. 148.
• Zsolt Joanovits: Credit Suisse Group Buildings 1692–1992. Zurich 2002, pp. 30–35 (Crédit Suisse).
• Timo John: The royal gardens of the 19th century in Stuttgart. Worms 2000, pages 82, 85, 96.
• Annette Köger: Antonio Isopi (1758-1833). A Roman sculptor at the Württemberg court. Volume 1: Life and Work, Documents. Lang, Frankfurt am Main 1996, pp. 255-257.
• L .: Stuttgart. In: Deutsches Kunstblatt. 8, 1857, No. 52 of December 24, p. 461, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fdigi.ub.uni-heidelberg.de%2Fdiglit%2Fdkb1857%2F0485~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D (winter).
• Friedrich Müller: The Villa Sr. K. Hoh. of the Crown Prince of Württemberg near Stuttgart. In: New Illustrirte magazine for Bavaria. 1851, No. 36 [excerpts from Gohl 2007 , pp. 31–43] (Nymphenbrunnen).
• NN: The industrial exhibition in Munich. I. In: Deutsches Kunstblatt. Journal for fine arts, architecture and applied arts. 5.1854, No. 36 of September 7, pp. 343-345, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fdigi.ub.uni-heidelberg.de%2Fdiglit%2Fdkb1854%2F0359~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D .
• NN: The general German industrial exhibition. Eighth group. Metal goods and weapons. The iron. In: Journal of the association for training the trades. 4, 1854, pp. 25-28 online in the Google book search
• NN: Official catalog of the Württemberg State Trade Exhibition 1881. Stuttgart [1881], p. 244.
• NN: Stuttgart. 10. May. In: Swabian Kronik. No. 110 of May 11, 1882, p. 707 (relief in honor of King Wilhelm).
• NN: The sculptural works of art displayed publicly in Württemberg and especially in Stuttgart. In: Swabian Kronik. No. 255 of October 26, 1884, pp. 1717-1718, No. 281 of November 26, 1884, pp. 1886-1887.
• Inge Petzold (text); Christel Danzer (photos): Water for utility and ornament. Stuttgart fountain and water features. Motives, design, history, fortunes. Stuttgart 1989, pp. 34-35 (Nymphenbrunnen by Franz Linden).
• Alexander Renz: Chronicle of the city of Heilbronn. Volume 6: 1945-1951. Heilbronn 1995, p. 195 (tombstone CK Kunze),
• Frank Scholze: Karl Ludwig Wilhelm von Zanth and Wilhelma. A brief introduction to the architect's 200th birthday. Stuttgart 1996, pp. 21, 36, 38 (groups of animals, elib.uni-stuttgart.de PDF; 109 kB).
• Carl-Wolfgang Schümann: "Olga lives heavenly". Studies on Villa Berg in Stuttgart. In: Yearbook of the State Art Collections in Baden-Württemberg. 10.1973, pp. 49-87.
• Michael Wenger: Completed 150 years ago in Stuttgart-Berg; the villa for the Crown Prince couple. "Built in the finest Renaissance style by Leins". In: Castles of Baden-Württemberg. 2003, No. 2, pp. 31-35 (Nymphenbrunnen).
• August Wintterlin: Württemberg artists in life pictures. Stuttgart 1895, p. 435 (Christian Friedrich Leins).

Sources and references

Archival material

• Ludwigsburg, State Archives
  • E 21 Bü 260 (candelabra for Rosenstein Castle).
  • E 21 Bü 263 (lying deer, ram bowl and candelabra for Rosenstein Castle).
• Stuttgart, Main State Archives
  • E 14 Bü 33, no. 25 (photographs of groups of animals, “donor of gifts”).
  • E 14 Bü 192 (lying deer and candelabra for Rosenstein Castle).
  • E 14 Bü 194 (advance payment for candelabra models).
  • E 14 Bü 202 (groups of animals for Wilhelma, lying deer and lions for Rosenstein Castle).
  • E 14 Bü 203 (photographs of groups of animals, “gift donor”, ​​two groups of bears).
  • E 14 Bü 1501 (grant for a trip to Berlin).
  • E 200 Bü 486 (professor title).
  • J 386 Bü 523 (family book 1811–1861 of the Kath. Pfarramts Sontheim a. N.), p. 600 (online) .
  • J 386 Bü 550 (civil status register of the Jewish community Stuttgart), sheet 43 , sheet 47 .
• Stuttgart, city archive
  • 9910-53 (album "Glück auf!" By the artist society "Das Bergwerk").
  • 9100-218 D (supplement to the album "Glück auf!" With a list of contributions).
• Stuttgart, Baden-Württemberg Economic Archives
  • B 1007 Bü 1141 (nymph fountain and candelabra for Villa Berg).

Others

• Wolfram Angerbauer , Hans Georg Frank: Jewish communities in the district and city of Heilbronn. History, fates, documents , Heilbronn 1986, pp. 213–221.
• Werner Fleischhauer: The Württembergischer Kunstverein, history and aspirations in the first four decades of its existence , Stuttgart 1927.
• Hans Franke: History and Fate of the Jews in Heilbronn. From the Middle Ages to the time of the National Socialist persecution (1050–1945) , Heilbronn 1963, pp. 168–180 (PDF; 14.7 MB) .
• Julius Fürst (Ed.): The Orient. Reports, studies and reviews for Jewish history and literature , Leipzig 1846, p. 59 , p. 164 .
• Heinrich Konrad Kissling: Business and trade address book of the Kingdom of Württemberg . Zu Guttenberg, Stuttgart 1855, p. 19 ( online in Google Book Search).
• Moriz Carriere: The German art exhibition in Munich . In: Morgenblatt für educated readers , 1854. Retrieved July 10, 2011. 
• Michael Güldenstein: Buchau . In: Allgemeine Zeitung des Judentums 1846, p. 68 original , transcription .
• Rosalie Güldenstein: funeral notice, Albert Güldenstein . In: Schwäbische Kronik No. 121 of May 26, 1891, p. 1079, thanks, Albert Güldenstein . In: Schwäbische Kronik No. 125 of May 30, 1891, p. 1109.
• Joachim Hahn: Friedhöfe in Stuttgart , Volume 3: Pragfriedhof, Israelitischer Teil , Stuttgart 1992, pp. 81–82, 217.
• Friedrich Benedict Wilhelm von Hermann: Report of the assessment commission at the general German industrial exhibition in Munich in 1854 , Munich 1855, XII. Group: Achievements of the fine arts, p. 12 , p. 43 .
• Mendel Hess: Various things from Württemberg . In: The Israelite of the Nineteenth Century. A weekly for the knowledge and reform of Israelite life No. 37 of September 12, 1847, p. 293 books.google.de .
• Karl Klöpping: Historic cemeteries of old Stuttgart , Volume 2: The Central Cemetery on the Prague. A contribution to the city's history with a guide to the graves of well-known personalities , Stuttgart 1996, p. 133.
• NN: Competition for the award given by the Michael Beerschen Foundation . In: Allgemeine Zeitung des Judentums 1839, p. 110 .
• NN: From Württemberg. In: Allgemeine Zeitung des Judentums 1845, p. 686.
• NN: Description of the Oberamt Heilbronn , Volume 1, Stuttgart 1865, pp. 160, 162, 276 (PDF; 2.4 MB) .
• NN: Description of the Oberamt Heilbronn , Volume 2, Stuttgart 1903, pp. 445–447.
• Friedrich Noack: The Germanness in Rome since the end of the Middle Ages , Volume 2, Stuttgart 1927, reprint Aalen 1974.
• Bertold Pfeiffer: The Hoppenlau cemetery in Stuttgart , Stuttgart 1912, p. 22, 47.
• Heinrich Rustige : Filippo Lippi. Drama in 5 acts , Stuttgart 1851 and 1852.
• Helmut Schmolz (collaboration): Sontheim - as it used to be. The old townscape in photographs, 1858–1945, Weinsberg 1988, p. 181 (Portrait of Güldenstein = City Archives Heilbronn, F001-M-4379).
• Ernst Eberhard Friedrich von Seyffer : Description of the royal country house Rosenstein . Stuttgart 1831, p. 33 ( online in Google Book Search). .
• Joseph Wertheimer (ed.): Yearbook for Israelites 5617 (1856-1857) . L. Sommer, Vienna 1856, p. 213 ( online in Google Book Search). .
• Directory of the members of the Württemberg Art Association 1833, 1836; Accountability report of the administrative committee of the Württemberg Art Association 1839–1842 to 1845–1847, 1853–1860; Accountability report of the administrative council of the Württembergischer Kunstverein 1860–1863, 1863–1867; Württembergischer Kunstverein, accountability report 1882–1883, 1891–1893.

Web links

Commons : Albert Güldenstein  - Collection of images, videos and audio files

• HEUSS database of the Heilbronn City Archives (search term "Güldenstein")
• Fountain in Stuttgart (Nymphenbrunnen Villa Berg)
• Works by and about Albert Güldenstein  in the German Digital Library

Remarks

1. ↑ Today a district of Heilbronn .
2. ↑ Isak Michael Güldenstein was originally only called Isak Michael , ie his name consisted of the first name and the first name of the father ( patronymic ) , as with most Jews . At the beginning of the 19th century, in order to enjoy extended civil rights, the Jews began to add an unchangeable family name to their names (see also Jüdische Familiennames und Franke 1963 , p. 169). As part of these efforts Isak Michael in 1825 put the family name Güldenstein (or Gültenstein), see story in view - Heilbronn from A-Z . stadtarchiv-heilbronn.de. Retrieved July 10, 2011.
3. ↑ Today the district of Obersulm . - On the year of the mother's death: The marriage, concluded in 1811, lasted 47 years, i.e. until 1858; since the father only died in 1861, the mother must have died in 1858 ( Schwinghammer 2005 , p. 86).
4. ↑ It is not known what kind of work it was. After the AKL , he also presented his flood relief in Berlin, while all other sources leave the question open.
5. ↑ Since we are talking about "groups of animals", one must assume that Güldenstein exhibited models from other groups of animals in addition to the group of deer.
6. ↑ The houses that have disappeared today stood between the Hoppenlauffriedhof and today's old riding arena.
7. ↑ Both houses had five floors and were occupied by at least 7 tenants each (Stuttgart address books 1863–1892).
8. ↑ See WKV reports . The artist committee had to submit its report “when purchasing works of art for raffle and when choosing the association's gifts”. According to Bach 1900 , p. 184, one of Güldenstein's works was also purchased. This can not be proven in the WKV reports that have been received (the reports for 1847–1853 are missing). In Fleischhauer 1927 , p. 43, it rather says: "Strangely enough, Güldenstein, whose animal groups were praised for their natural truth and were highly valued by King Wilhelm and Crown Prince Karl, did not find recognition by the association."
9. ↑ For more information, see Stuttgart (1843-1847) and Berlin (1845) .
10. ↑ In 1859 Albert continued to live in the apartment at Neckarstrasse 60, which the couple had moved into after their marriage in 1856 while his wife had moved to Neckarstrasse 39 (Stuttgart address books 1856-1859). Perhaps the marriage ended in divorce because of childlessness. In 1863 Charlotte married the businessman Hermann Wallensteiner from Buchau for the second time ( Hahn 1992 , p. 217).
11. ↑ The basin was removed and the well shut down after the SWR created an entrance below the well.
12. ↑ Written communication from the garden, cemetery and forest office dated July 8, 2011: "The whereabouts of the angel we are looking for is not known here".
13. ↑ He is identified by a mine cap as a member of the artist society "Das Bergwerk".
14. ↑ The year 1869 in Schwinghammer 2005 is wrong.
15. ↑ 2.00 or 1.15 m (1 foot = 28.65 cm).
16. ↑ The bank building was constructed from 1873 to 1876.
17. ↑ Does not contain any information about Güldenstein's contribution to the building's sculptural decoration.
18. ↑ The middle panel bore the inscription: “The unforgettable King Wilhelm I of Württemberg in grateful memory”. Description of the panels in NN 1881 and NN 1882 .
19. ↑ Three of the panels were exhibited at the Württemberg State Trade Exhibition in Stuttgart in 1881 , the other two panels must have been completed by the time they were attached to Güldenstein's house in May 1882 ( NN 1882 ).
20. ↑ In 2007 the sculpture was cleared and stored by the garden authority due to multiple vandalism, and later placed again in the Prague cemetery. The historic morgue is on the left at the end of the main avenue, which begins at the main entrance on Friedhofstrasse.
21. ↑ For more details see genre - painting .
22. ↑ For more details, see Munich Industrial Exhibition 1854 .

Individual evidence

1. ↑ ^{a b c} Schwinghammer 2005 , p. 86.
2. ^ ^{A b} Albert Güldenstein - Matriculation AdBK Munich . Retrieved July 10, 2011.
3. ↑ Schwinghammer 2005 p. 86
4. ↑ Angerbauer 1986 , pp. 213-217.
5. ↑ Further sources of this section: J 386 Bü 523 ; Stuttgart address books 1855–1871.
6. ^ AKL and Wininger 1927 erroneously: Stuttgart.
7. ↑ Müller-Klunzinger .
8. ↑ Güldenstein 1846 .
9. ↑ ^{a b} E 14 Bü 1501 , No. 19.
10. ↑ NN 1839 .
11. ↑ Prince 1846 , p. 59.
12. ↑ Prince 1846 , p. 164.
13. ↑ Heß 1847 , p. 293. Wilhelm I commented on Güldenstein's work for the Villa Berg with the words: "You have to excuse me if I blame you for some things, I've seen a lot in my life."
14. ↑ Hess 1847 , Noack 1927 .
15. ↑ Heß 1847 , p. 293; Müller-Klunzinger . - See also animal sculptures (Wilhelma) , especially the sections on the description and history of the sculpture.
16. ^ Stuttgart address books 1848–1863.
17. ↑ E 14 Bü 202 , 1853 & 1854, Nos. 35 and 47; E 21 Bü 263 , No. 80; Kress 1987 , p. 104; Hermann 1855 , p. 12.
18. ↑ Hermann 1855 , pp. 12 and 43. - Of 104 exhibitors assessed in the category “Plastic Objects”, 6 received a large commemorative coin, 19 an honorary coin and 36 an honorable mention, i.e. more than half of the participants were honored ( Hermann 1855 , after p. 45).
19. ↑ E 200 Bü 486 , supplement to No. 1, August 17, 1854.
20. ↑ E 200 Bü 486 .
21. ^ Address book 1855 , p. 19.
22. ↑ E 14 Bü 203 , 1861-1865, No. 39.
23. ↑ E 14 Bü 202 , 1851 & 1852, No. 3, 22, 1855 & 1856, No. 27, 1857-1860, No. 2.
24. ↑ E 21 Bü 263 , No. 82, Stuttgart address books 1856-1860.
25. ↑ NN 1903 , pp. 445-446.
26. ↑ Hengstenberg 2003 , p. 318. - The “mine” not only included visual artists, but also musicians, writers and other prominent citizens. See also the two sheets that Güldenstein drew for the album of the “Bergwerk”: Todt des Philippo Lippi and Zwei kämpfende Löwen .
27. ↑ NN 1882 .
28. ↑ Hammer 2005 .
29. ↑ J 386 Bü 550 , sheet 43 - In the civil status registers the family name is also written as Chally.
30. ↑ J 386 Bü 550 ; Sheet 47; Hahn 1992 , p. 81; Genealogy of Raphael Hochberger, see The Family History of the Calzareth, Krieger, Michaels and Rafael Families . Retrieved July 10, 2011.
31. ↑ See: J 386 Bü 550 . - Güldenstein's first wife had at least four children in her second marriage. At the time of the marriage, his second wife was 45 years old and was already beyond fertile age.
32. ↑ Güldenstein 1891 .
33. ^ Stuttgart address books 1888–1892.
34. ↑ Hahn 1992 .
35. ↑ Death of Philippo Lippi and two fighting lions .
36. ^ Emmerich Felix Pilger (1768–1842), Emil Pilger (1816–1859).
37. ↑ Almost literally consistent with the text by Müller 1851 , which is printed in Gohl 2007 , p. 32.
38. ↑ Büchele 1858 and Wais 1954 attribute the models to Antonio Isopi . From the files E 14 Bü 202 it emerges that Güldenstein created the models for the zinc casting, perhaps based on an idea by Isopi, especially since the motif of the lion with ball can be found “in four copies at the Thouret Academy Fountain behind the New Castle in Stuttgart [ finds], at the “Thouret Fountain” in the courtyard of Ludwigsburg and at the entrance to Monrepos Palace near Ludwigsburg ”( Harling 1993 ).
39. ↑ NN 1854.2 , p. 26: Leins, NN 1854.1 , p. 344: Wirth.
40. ↑ B 1007 Bü 1141 , especially December 30, 1850.
41. ↑ Güldenstein calls them "geniuses" ( B 1007 Bü 1141 , December 30, 1850).
42. ^ In Gohl 2007 , p. 32, printed.
43. ↑ Büchele 1858 , p. 251.
44. ↑ Hermann 1855 , p. 12.
45. ↑ Since Karl Büchele describes the dogs in his Stuttgart travel guide from 1858 , the AKL assumes that they were created "before 1858".
46. ↑ Since Karl Büchele describes the reliefs in his Stuttgart travel guide from 1858 , the AKL assumes that it was created “before 1858”.
47. ^ Archives of the House of Württemberg, Altshausen: Main book of the civil list July 1, 1863/64. P. 140 [16.11. 1863].
48. ↑ # Köger 1996.1 .
49. ↑ So at Harling 1993 .
50. ↑ Kress 1987 , p. 104.
51. ↑ The creator of the statue created his first known work in 1908. See: Linden, Franz . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 23 : Leitenstorfer – Mander . EA Seemann, Leipzig 1929, p. 240 .
52. ↑ Carriere 1854 .