BLOG

In 1971, as part of the retrospective, the MAK (Museum of Applied Arts) presented works from the interwar period, the origin of which can be attributed to Franz Hagenauer. These busts and life-size figures had already gained popularity since the 1920s, which were sometimes used as window-shopping decorations. Compared to industrially manufactured mannequins made of plastic, the busts and figures were valuable individual pieces. Overall, they were also designed in an avant-garde design, which speaks for their uniqueness. The small model busts, often made with hands and fingers, were popular with jewelers. They decorated them with rings, necklaces, bracelets or watches. These pieces were art and functional objects at the same time.

Photography, window display for hats and jewelry, female bust with hand, Alpaca. Archive Hagenauer, MAK, Vienna.
Photography, metal sculpture, female bust, window dressing for jewelry, hats, etc. Archive Hagenauer, MAK, Vienna.

Much more rarer were life-sized, almost oversized full-body models, so-called “mannequins”. Some of them were even over two meters tall. A model made of alpaca, for a client from abroad, is said to have cost the equivalent of over 4700 euros, and thus belongs to a very expensive object for the time. Such figures were reserved for exclusive customers on request.

Photography, window display, female figure, standing, alpaca, enamel. Archive Hagenauer, MAK, Vienna.
Photography, window display, female figure, standing, alpaca, enamel. Archive Hagenauer, MAK, Vienna.

In the 70s and 80s Franz Hagenauer took up the life-size models and busts again. They were adaptations of the figures from the 30s. However, their formal significance dwindled and their practical utility was nullified. They became their own class of new works of art from the House of Hagenauer. They were sculptures of an elegant past recreated and adapted for a new time.

Woman’s bust with pearl necklace, about 1970. Both pieces were recently offered at the Kunsthandel Nikolaus Kolhammer.
Woman’s bust with red lips, about 1970.

Such a large sculpture from 1970 is the “Life-size trumpet player”, which is 183 cm high. Made of bent and chased brass, it expresses the masterful workmanship of the Hagenauer workshop. The Trumpet Player embodies a dedication to art that emulates the passion and talent of its master, Franz Hagenauer. With great attention to detail, Franz Hagenauer designed the musician’s wardrobe with delicate chasing and with protruding applications, which thus appear particularly vivid.

Life-size trumpet player, about 1970. This piece is currently for sale at the Kunsthandel Nikolaus Kolhammer.
Life-size trumpet player in detail. 

Another masterpiece of the great figures of Franz Hagenauer is the ,,Life-size piano player“. Here Hagenauer succeeded in reducing the physical features to a flat, almost two-dimensional plane. This type of design is particularly characteristic of the late creative period of the Hagenauer workshop.

Life-size piano player, about 1970. This artwork was recently sold at the Kunsthandel Nikolaus Kolhammer. 
Life-size piano player in detail with visibly flat face. 

A bust from this late creative phase is the “Large Double Bust” and was probably created around 1980. It is also based on models from the interwar period. In this double bust Franz Hagenauer placed two female heads next to each other. The two inclined heads, cheek to cheek in intimate unison, almost touch each other and radiate a close bond. In this work Franz Hagenauer’s qualities as a sculptor, which he acquired over the decades, come to the fore.

Large Double Bust, about 1980. This piece was offered at the Kunsthandel Nikolaus Kolhammer. 

Masterfully chased from a single piece of brass, Hagenauer retained the futuristic character and further developed radically reduced heads here. He loosened up the appearance of the sculptures with attributes such as the stylized nose section and the flowing and wavy curls. With this late work Franz Hagenauer designed a sculpture of strong charisma and in a sense closes the artistic circle from his sculptural beginnings to the mature work of his old age.

In 1931 Franz Hagenauer’s name as a metal sculptor first appeared in the ,,Lehmann’s Allgemeiner Wohnungs-Anzeige”. He was located in Bernardgasse number 7. in the seventh district as a metal sculptor. As mentioned in a previous blogpost (Franz Hagenauer and the dream of the sculpture – kolhammer.com), it was his big dream to become a sculptor. A dream he was able to turn into reality.

Especially at the end of the 1920s and at the beginning of the 1930s Franz Hagenauer began to create his famous head sculptures, which were to accompany him throughout his life.

Two very early documented works by Franz Hagenauer, semi-plastic heads made of alpaca, probably date from 1928, and are marked with the monogram ,,FH”. For a long time one of them was in the collection of Andy Warhol, but found its way back to Austria through the art trade. They are now both in the Leopold Collection and two of the first chased heads by Franz Hagenauer.

Brass chased and silver plated head with ‘cheeky’ curls. Private collection of the Leopold family. Leopold Museum Vienna.

Another object, which is dated even earlier, is a head sculpture, and was probably made between 1925 and 1930. This figure may have been created as part of the 1925 Paris World’s Fair. At that time Anton Hanak and his students, including Franz Hagenauer, created a so-called “cult room”, which was filled with works by the students.

The ”cult room” of 1925
Image of the ”cult room” in detail

This head most likely belonged to the special ”cult room” as well. As with other works, the workmanship here was extremely elaborate. Wrought brass, copper and enamel were used here. Characteristical for an early piece are the highly detailed worked facial features.

Early head sculpture made of chased brass, copper and enamel, about 1930. Recently this piece was offered at the Kunsthandel Nikolaus Kolhammer. 

In contrast stands a key work from the 1930s. The double head, made of alpaca, shows an extreme reduction in the abstracted head shape and the facial features. This work points the way for many upcoming pieces by Franz Hagenauer, which he would produce until the 1980s. It is inscribed with ,,FRANZ”, the monogram ,,HF” and with the number ,,36” which probably indicates the year of its creation.

Franz Hagenauer, double head made of alpaca, 1936, Art in Words, Vienna Leopold Museum, (Breinsberg Collection, photo: Christian Schindle, Pixelstorm, Caja Hagenauer, Vienna).

A similar work from the same period is a head with a standing collar. Masterfully wrought from a piece of alpaca, it shows the design power of the young Franz Hagenauer and his sculptural qualities. Inspired by the contemporary avant-garde and futurism, here he radically reduced the anatomical forms, and stereometrically condensed them to an ovoid head and a cylindrical neck.

Thus, the unadorned head appears archaic, and its uncompromising reduction gives it a timeless radiance. The only design elements on this hermetic male head are the suggested hairline and the reduced ear. The only visible decorative accessory is a stylized collar.

Head Sculpture with Collar. Recently, this sculpture was sold at the Kunsthandel Nikolaus Kolhammer. 

Compared to other materials, brass was easy to clean and, above all, had a much lower purchase price. The Werkstatte Hagenauer achieved a much broader clientele through a great many brass products.

In comparison, the Wiener Werkstatte came under increasing criticism, especially after the First World War. The philosophy of the Wiener Werkstatte, its exclusivity, and the target group of the rich and big industrialists seemed outdated. Especially in the post-war period, when society and politics were undergoing major changes throughout Europe and America. Critics of the Vienna Art Show of 1920 described the Wiener Werkstatte as outmoded and not adapted to the changed political and social conditions.

The Wiener Werkstatte was blamed for still depending on decoration and ornament. They were criticised in 1925 by the contemporary critic Armand Weiser for being ‘one for the display of excess and luxury’.

Design drawing of the mirror frame: dog, cat, mouse

This contrasted with the Werkstatte Hagenauer, which greatly reduced ornamentation. Their creations did not get lost in ornamentation. This was to the advantage of the Werkstatte Hagenauer. They were praised as pioneering. They fulfilled the changing artistic and social requirements of the time.

Mirror frame: Dog, Cat, Mouse

A very fitting example of this was a mirror titled: ‘Dog, Cat, Mouse’ which was designed around 1930. The mirror frame shows an exciting chase of the three animals. With an exceptionally fine sense of humour, Karl Hagenauer designed such witty episodes, which charmingly decorated some of his objects. The comic-like and reduced details showed Karl Hagenauer’s mastery of stylistic reduction, for which the Werkstatte Hagenauer was to become famous.

Detail of a mirror frame with cat

Another aspect that benefited the Hagenauer workshop was the flexible price range in which the objects were offered. There were works of art and objects for everyone to buy. For four shillings, you could buy a beautiful ashtray. For 18 shillings, an elegant bookend. But there were also objects like a magnificent chandelier for 320 shillings or a large floor lamp for 600 shillings.

Critics were continuously fascinated by the pieces of the Werkstatte Hagenauer. Weiser, for example, wrote the following in a 1925 issue of Deutsche Kunst und Dekoration: “Each of their pieces is of consummate workmanship and reproduces all the merits of an easily mastered technique in form and colour. By hammering out and leaf-like trimming of the curved edges, silhouetting is repeatedly achieved.

As this report showed, the execution of a design and the skill that goes with it is of extraordinary importance. It was the quality of craftsmanship that was very inspiring. These technical and work-related backgrounds were also important aspects of exhibitions. At the Paris World Exhibition of 1925, the Hagenauer workshop was represented with designs by Karl. His objects were awarded medals for their technique and craftsmanship.

The 1920s were a time of economic boom, and this was also reflected in the Werkstatte Hagenauer. Bowls, cans, and various utilitarian objects such as inkwells, writing sets, candlesticks, table and floor lamps, or mirrors were produced in large numbers.

In these years, Karl Hagenauer orientated himself towards ornamental and formal styles. Here he followed the trend set by the Wiener Werkstatte, Josef Hoffmann or Dagobert Peche. At the same time, however, he also created objects that have the typical recognition value of today’s well known Werkstatte Hagenauer : Geometric contours and pure forms are dominating, whereas functionless ornaments began to disappear.

One such example, which could be described as a transitional work, is an ornamental wall mirror, from around 1928. It is the design of a decorative mirror. The frame is decorated with geometric elements and stylised animal figures in an openwork technique. Between the reduced floral and geometric ornaments, a dog, a heron, and a bird are clearly visible. Their soft lines lighten up the strict composition of the frame.

An ornamental wall mirror from 1928

The formal language is strongly reminiscent of the influence of the Wiener Werkstatte. Especially when it comes to depictions of animals, one recognizes the imaginative ornamentation that was very much the style of Dagobert Peche. At the same time, however, there is a clear development towards reduction in figures and ornamentation. A style that was to become characteristic of the name Hagenauer and would later stand for the Werkstatte.

Detail of an ornamental wall mirror with heron

This direction was also particularly evident in some vases, jars, and bowls. In particular, larger animal figures, which were of course limited to decorative purposes, left many decorations in their appearance behind. A playful elegance, enhanced by form and little decoration, became characteristic under Karl Hagenauer’s leadership and reflected the changing times.

But it was especially the materials that reflected the historical period in the Werkstatte Hagenauer. Alpaca, copper, and above all, brass was among the materials predominantly used. Brass products were particularly popular. The ornamental wall mirror mentioned above is also made of brass.

There were also different processing methods for this material. On the one hand, there were chased brass plates or chiselled objects, and on the other hand, there was the sand-casting process. Here, the objects were subsequently polished to a high gloss.

Ornamental wall mirror in detail with dog
Sketch of the ornamental wall mirror, with the dog already sketched out

Like his older brother Karl, Franz Hagenauer attended Franz Cizek’s highly sought-after youth art course in Vienna. When he began his regular studies, he had a clear idea of his future. Early on, he knew exactly what he wanted. On the application form under career aspirations, he wrote: Sculptor.

But it was still a long way until then and Franz Hagenauer had to overcome some hurdles. Franz was influenced by the Czech cubists, who often worked formally with prisms and pyramid vocabulary. Other influences during his student years were expressionism and kinetic art. During that time Franz worked a lot on plaster cuts, ceramics and chasing works. However, he was initially given only a “Satisfactory” grade by Cizek during his time at school.

Franz Hagenauer

But his first great success was not far off. Further training followed under the sculptor Anton Hanak in Vienna. And in the school year 1922/ 23 he received a prize of one million crowns (today about 670 euros) from the Wiener Werkstätte in a competition for a brilliantly crafted sheet metal sculpture.

In his last year at school, he also took a course in belt-making, repoussé and chasing with Josef Hoffmann. Since Hoffmann immediately recognized his talent, he was not only taught by him but was also allowed to work for him. This was a great honor for the young sculptor. However, he attended this course for only a few weeks, as he was released from work for the Paris World Exhibition of 1925. For now, he had finished with his studies. After difficult beginnings, success and requests for work came flooding in. Nothing stood in the way of his dream of becoming a professional sculptor.

“Room of Metals” or “Cult Room” at the Paris World Exhibition of 1925

In the same year, however, Franz Hagenauer suffered a minor setback. An article about the Hagenauer workshop appeared in the trade magazine ‘Deutsche Kunst und Dekoration’, in which sheet metal sculptures by Franz were strongly criticized.

Detail image, “Cult Room” of the Paris World Exhibition, 1925

But this was immediately followed by praise for the exhibits at the Paris World Exhibition. Together with other students of Hanak, a “Room of Metals” was presented in Paris. This was described by critics as a sheet metal workshop, praised as a “cult room”, and was lauded as an example of passion of a professional way of working.

Franz Hagenauer, Chased brass figure on horseback, 1925/ 26

Franz Hagenauer, Chased brass figure, 1925/ 26

Success at the World Exhibition was followed by a period of work and further study for Franz. In the late 20’s Franz began working in the family business. There is uncertainty when exactly he began working at the Hagenauer workshop, as only a few pieces were explicitly signed with his signature mark. Moreover, while working for the family, he did not lose sight of his goal to become a sculptor. In 1928, he officially began training in the belt-making trade. This is why works by Franz Hagenauer for the Hagenauer Werkstätte from the late 1920s are very special.

One of these pieces of work from that time (around 1927 to 1930) is also currently offered in the Nikolaus Kolhammer Gallery. It is a brass bowl, cast brass, wrought, and chased. Figures in long robes are depicted. Their gestures, praying and praising, indicate Christian saints. On some of these figures, halos can also be seen. However, other figures are not to be overlooked in the bowl. One of them, for example, is a rider on horseback, which could also be the image of a Christian saint.

Detail image of the brass bowl, rider on horseback.

Floral elements, which are geometrically arranged, and stylized animals connect the different episodes of the sacred figures. It is fascinating how religious with more profane motifs are related to each other here. Benedictory figures, courtly horsemen, animals, and floral elements are combined to create a stylish overall image of an excellently crafted brass bowl.

Brass bowl, overview

The inspiration for this bowl by Franz Hagenauer can be traced back to work for the 1925 Paris World Exhibition. As mentioned earlier, Franz exhibited pieces with other students of Franz Hanak in the “cult room”. Many of those works show patterns similar to the brass bowl, combining sacred scenes with secular motifs.

Detail of the brass bowl, sacral scene with saints and floral elements

This brass bowl is an excellent testimony of a young, promising artist who, after hard work and minor setbacks, continued to focus on his goal and was able to apply what he had learned. The bowl is a testimony that Franz Hagenauer became a great sculptor.

Loetz vases have a long tradition that has changed many times since the 19th century, and the glass art itself has an even longer history. Back in ancient Egypt, over 3000 years ago, glassblowers made vases that are not dissimilar to the Loetz vases of today. The ancient Egyptians produced glass and glass vases from quartz mixed with plant ash in furnaces. Most of these glass vases were made in blue, the color of the Nile, the life source of the Egyptians. However, the glassblowers also succeeded in the difficult production of red glass. Here the glass had to be fired in an environment without oxygen so that the copper did not oxidize and turn blue. The production of red and blue glass was a sacred art among the Egyptians. The recipe of glass production was also known as “the secret of the pharaohs”. And, as the name suggests, glass vases and glass jewelry were reserved exclusively for the pharaohs.

Ancient Egyptian and Roman glass vases and glass bowls, Collection of Classical Antiquities, Kunsthistorisches Museum Vienna, c. 200 BC.

Just as ideas, themes and motifs from nature were adopted in the production of Loetz vases, such as the shape of flower calyxes or the patterns of blossoms and plant leaves, so too did the ancient Egyptians adopt forms from nature in their glass vases. At that time, however, the patterns had a closer resemblance to leaves, were less colorful and were kept in the colors beige, yellow or brown. But the basic idea of the Egyptians was the same as that of many glass artists of the 19th and 20th centuries. Shapes and colors from nature were adopted and captured in glass art.

In the 19th century, historicism was predominant in glass art and Loetz was also dominated by historicism at first. It was not until much later that those simpler forms, inspired by nature, would prevail. In 1879 Susanne, Johann Loetz’s widow, handed over the company to her grandson, Maximilian von Spaun. Together with Eduard Prochaska, he modernized the company and introduced innovations and new techniques to the glass art of historicism. For example, intarsia glass, octopus glass or the very popular marbled glass, which imitated the appearance of precious stones.

Johann Loetz
The grandson of Johann Loetz, Maximilian von Spaun

Successes and prizes followed in Brussels, Munich and Vienna, as well as at the World Exhibition in Paris, the Exposition Universelle, in 1889. However, the great success did not come. And to this day the Loetz glass vases from the period of historicism are less in demand and are also traded as less valuable.

It was in 1897 when Maximilian von Spaun first admired Tiffany Favrile glass in Bohemia and Vienna. Its great success did not go unnoticed by him and he decided that the Art Nouveau style was the direction in which Loetz glass should also develop to.

The next years, until the turn of the century, were to be Loetz’s most successful and artistically exciting years. The glass factory produced a new generation of glass vases. The inspiration for the vases was to be found in nature itself. Vases like calyxes, implied petals, or meandering shapes like rivers decorated the iridescent colored glass. Fanciful vases, many shimmering like opal, were created at that time.

Decor Cytisus Neuroth vase, around 1901
Decor Cytisus Neuroth in detail, with well recognizable meandering shapes

With the new style Loetz also collaborated with very famous artists, such as Josef Hoffmann, Koloman Moser, the Wiener Werkstätte or Franz Hofstötter. All of them created designs and sketches for Loetz vases. The highlight of this collaboration was in 1900 when Loetz made history at the Paris World Exhibition. Along with Tiffany, Gallé, Daum and Lobmeyr, Loetz won the Grand Prix. The company received the award for the Phenomenon Series, created in collaboration with Hofstötter.

In the Nikolaus Kolhammer Art Gallery, a Loetz vase, designed by Franz Hofstötter for that very Paris World Exhibition in 1900, was also offered and sold recently. It is the Exhibition Phenomenon Genre 387 ,,Pink with Silver”. This vase is a typical example of Hofstötter’s designs, as the surface design is inspired by nature. All the elements, earth, air and fire, which must be united to create iridescent glass, are represented in the vase. The base of the vase, in dark brown, is held in the color of fertile earth. This is followed by woven, flowing threads in silver and light blue that meander along the vase. They are interpreted as air and atmosphere, which are followed by more orange and pink threads that can be seen on the vase like fire itself, giving it an almost glowing impression.

Surface design of the World Exhibition Vase in detail. The base is kept in earth-colored tones. This is followed by flowing atmosphere-like threads.
World Exhibition Vase, Phenomenon Genre 387 ,,Pink with Silver”

In the middle of the 19th century, Emperor Franz Josef I ordered the bastions of the first district to be dismantled to build the magnificent Ringstrasse. From 1858 to 1874 Vienna was a huge construction site and during that time the world-famous buildings of today’s Vienna Ringstrasse were built, including the museums, the theatres or the City Hall.

It was a time of prosperity and all these new projects offered artists and craftsmen many opportunities for work. The Viennese arts and crafts experienced an unprecedented heyday. There was also a technical breakthrough in bronze casting. The costly lost-wax casting process was replaced by the sand-casting process. This meant that the casting mold remained intact and a figure could be recast indefinitely. The economy flourished and from then on bronze and iron objects could be mass produced on an industrial level. The rising and increasingly wealthy middle classes were paying customers.

Almost at the same time, Carl Hagenauer began his apprenticeship at the Viennese silverware factory Würbel & Czokally. He received a classical education in historically oriented designs, especially the Renaissance. The silverware factory specialized in “decorative art objects” such as centerpieces, bowls and cups.

Carl Hagenauer in family bliss, around 1910

After completing his apprenticeship with the master goldsmith Bernauer Samu in Bratislava, he not only founded his first workshop in the economic center, but also a family.

A few years later, however, he and his family were drawn back to Vienna, where he opened his own workshop at Zieglergasse 39. The clientele in Vienna and the opportunities that unfolded at the turn of the century were simply more abundant in the capital.

At first, he designed classical Viennese bronze ware based on models from antiquity, the Renaissance and the Baroque. It was everything that corresponded to the taste of the time.

But with the advent of Jugendstil in Vienna, Carl Hagenauer found his true passion. Asymmetrical design and flowing lines, the characteristic elements of Jugendstil, found their way into his craft. From then on, Carl Hagenauer produced bronze figures, reliefs and lamps in this increasingly popular art movement. Not only in Vienna, but throughout Europe he became one of the most sought-after artists in the metal-working arts and crafts scene.

Carl Hagenauer enabled his children to build on his success and provided them with the best possible education. His son, Karl, was enrolled in the School of Applied Arts. There he attended Franz Cizek’s popular youth art course. In 1912 Karl began his regular studies in architecture and was taught by masters such as Josef Hoffmann. But in 1916, like all young men in Europe, Karl too, could not outrun his fate. He was drafted into the military, but quickly found himself in Italian captivity, and when he returned to Vienna in 1919, he was able to finish his studies.

Karl Hagenauer after completing his studies

After successfully completing his studies, Hoffmann commissioned his former student to create objects for the Wiener Werkstatte. He designed a large number of ivory objects, which were made by a carver in Hagenauer’s workshop. Due to their ornamental density and style, the resulting creations were very reminiscent of Dagobert Peches and were also erroneously attributed to him for some time.

Karl Hagenauer, Fan, made of ivory, 1923

The product range of the Hagenauer workshop grew rapidly in the 1920s. In addition to tin boxes, bowls or writing sets, candlesticks, table and floor lamps were now also produced and sold. Among them are a pair of candlesticks, which are currently on sale in the Nikolaus Kolhammers Gallery. In 1928 they appeared in the sales catalog, but since they are not yet marked with the typical company signet ,,wHw” in a circle, they could be dated to 1920.

The pair of candlesticks, made of solid brass, are an excellent example of what Karl Hagenauer oriented himself by in the period after the First World War. Geometric patterns and the curved shape of the candlesticks go hand in hand with the ornaments. Those stylized animal figures and the flower-like designed spouts are reminiscent of the works of Dagobert Peches. In the formal language, the influence of the Wiener Werkstatte is clear.

Pair of early candlesticks with animal figures

At the same time, however, geometric contours are already asserting themselves in this work. Moreover, the pure form of the candlesticks begins to dominate over the functionless ornament. Here, the animal figures are entirely decoration, yet they appear elegant and playful, in harmony with the pair of candlesticks. The uniformity of the feet and arms already indicate early Art Deco design, they are a wonderful example of Karl Hagenauer’s early style.