Andreas Frosch

German, active ca. 1517-1520

BiographyAttribution and Current Scholarly Opinion:

Gotiksammlung Rudolf Leopold, Exh. Cat., Bergbau- und Gotikmuseum Leogang, 2011, no. 49, pp. 160-163, published this work as by Andreas Frosch of Donauwörth on stylistic grounds, comparing it to a group of carvings from the monastery church of Saint Cross in Donauwörth, Bavaria, which includes a figure of Christ on the Cross, currently on loan to the Abbey Church at Rebdorf in Eichstatt; see also Die Kunstdenkmaler von Schwaben III, Landkreis Donauwörth, ed. Adam Horn (Munich 1951, p. 126, fig. 85). As noted by the dealer, and in the above-cited literature, “according to a document incorporated into the shoulder joint of the Crucifixion, the Crucifixion scene was ordered by Abbot Francis Rehau in 1519 from ‘Andreas Frosch, sculptor and citizen’ (of Donauwörth)'.”

The dealer, Sam Fogg, is also presenting this work as “Andreas Frosch”. He also notes the treatment of the work can be “broadly related” to the art of the Bavarian Jörg Lederer (ca. 1470-1550), with certain works formally given to him presently attributed to Frosch; see Das Oberhausmuseum Passau, Führer durch die Sammlung Passau, 1984, p. 96, fig. S 97; and P. Hildegard Dussler, Jörg Leder. Ein Allgäuer Bildschnitzer der Spätgotik, Kempton, 1963, cat. A 29.

There is also a work by Frosch, “Coronation of the Virgin,” in the Bode Museum, Berlin; see Staatliche Museen zu Berlin, Skulpturensammlung, Bildwerke aus Sieben Jahrhunderten, Berlin, 1972, no. 50, Fig. 45. A “Resurrected Christ” given to Frosch is in Auhausen; see Die Kunstdenkmäler von Schwaben I. Bezirksamt Nördlingen, ed. Karl Grober, and Adam Horn, Oldenburg, 1938, p. 67, fig. 60.

In my opinion, I think it prudent to presently describe “The Risen Christ” as “Attributed to Andreas Frosch.” In reality, it is the quality of the work and not the artist that is at the crux of this offering.

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