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Identification and Creation

Object Number
Workshop of Johann Joachim Günther, German (1717 - 1789)
Previously attributed to Paul Egell
The Four Seasons: Spring
Work Type
c. 1760-1765
Persistent Link

Physical Descriptions

without base: 251.46 x 130.18 x 96.52 cm (99 x 51 1/4 x 38 in.)
with base: 327.66 x 130.18 x 96.52 cm (129 x 51 1/4 x 38 in.)


Recorded Ownership History
Prince-Bishops of Speyer (Bruchsal). von Bismarck family (Lilenhof, by 1909), by inheritance; Otto Eduard Leopold von Bismarck, 1928, sold; to Edward Murray for his mother, Mrs. T. Morris Murray (Pomfret, CT); Charles Kuhn for the Busch-Reisinger Museum, 1943; purchased by Alpheus Hyatt Fund and transferred to Fogg Art Museum, 1952.

Acquisition and Rights

Credit Line
Harvard Art Museums/Fogg Museum, Alpheus Hyatt Purchasing Fund
Accession Year
Object Number
European and American Art

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Publication History

  • Fritz Ziegler, "Die vier Gartenfiguren auf Gut Lilenhof bei Ihringen", Schau-ins-Land (1919), XLVI, pp. 29-30
  • Anton Wetterer, Das Bruchsaler Schloss, seine Baugeschichte und seine Kunst (Karlsruhe, 1927), pp. 100, 101, 106
  • Adolf Feulner, Skulpture und Malerei des 18 Jahrhunderts in Deutschland (Wildpark-Potsdam, 1929), pp. 12, 104
  • Jakob Rosenberg, "The Four Seasons", Bulletin of the Fogg Art Museum (December 1945), X, 4, pp. 128-142; figs. 1-4, in details figs. 5, 6
  • Otto B. Roegele, Bruchsal wei es war (Karlsruhe, 1955), pp. 65, 157
  • S. Lane Faison, Jr., A Guide to the Art Museums of New England, Harcourt, Brace and Co. (New York, 1958), pp. 116-117
  • Edward A. Maser, "German and Austrian Rococo in American Collections", The Connoisseur (March 1960), 145, p. 133
  • Charles L. Kuhn, German and Netherlandish Sculpture, 1280-1800, the Harvard Collections, Harvard University Press (Cambridge, MA, 1965), p. 32-33, cat. no. 88 pp. 137-140, repr. as pls. LXXVIII and LXXXII (detail)
  • "Boston's Second Pre-Seminar Meeting", The American Wedgwoodian (April 1967), II, no. 6, pp. 101, 112
  • "Exit Winter, Spring, Summer, and Fall", Harvard Bulletin (April 1972), 74, pp. 22-23
  • Anneliese Harding, German Sculpture in New England Museums, Goethe Institute (Boston, MA, 1972), pp. 18, 19, repr. p. 72 as fig. 131
  • Marta Osterstrom Renger, "Furnishings of a Baroque Palace", The Connoisseur (July 1976), 192, pp. 194-195
  • Kristin A. Mortimer, "Masterpieces of the German Rococo", Apollo (May-June 1978), pp. 74-75, fig. 1
  • Charles Werner Haxthausen, "The Busch-Reisinger Museum, Harvard: the Germanic Tradition", Apollo (May 1978), vol. 107, no. 195, pp. 403-413, p. 411
  • Karin Jaeckel, "Die Sandsteinplastiken im Bruchsaler Schlosspark. Ein Werk des Bildhauers Joachim Guenther (1720-1789)", Einladung zur Mitgliederversammlung (November 3, 1979), pp. 90-100; p. 92, Abb. 3
  • Charles Werner Haxthausen, The Busch-Reisinger Museum, Harvard University, Abbeville Press (New York, NY, 1980), p. 81, repr. pp. 12, 81
  • S. Lane Faison, Jr., The Art Museums of New England, D. R. Godine (Boston, MA, 1982), pp. 181-182
  • Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 353, p. 298

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at