Franz Xaver Messerschmidt Relief portrait Vienna, 2nd half of the 18th century alabaster dm. 6.5 cm cf. Maria Pötzl-Malikova, Franz Xaver Messerschmidt. Monografie und Werkverzeichnis, Vienna 2015, p. 260-270
Franz Xaver Messerschmidt (1736-1783) was an Atrian sculptor known for his remarkable and psychologically intense character heads, which are among the most distinctive works of Neoclassical sculpture. Messerschmidt's sculptures, often referred to as "character heads" or "expression heads," are notable for their extreme and exaggerated facial expressions. Here are some key points about Franz Xaver Messerschmidt and his work:1. **Early Life and Training**: Franz Xaver Messerschmidt was born on February 6, 1736, in Wiesensteig, Germany. He received his initial artistic training in Munich before moving to Vienna, where he studied under the prominent sculptor Adam Franz Körper.2. **Vienna and Academic Career**: Messerschmidt spent most of his artistic career in Vienna, where he gained recognition and worked as a professor at the Vienna Academy of Fine Arts. He was considered a talented and respected sculptor.3. **Character Heads**: The most famo works associated with Messerschmidt are his "character heads." These are a series of sculpted bts that depict exaggerated and often grotesque facial expressions. The expressions range from extreme joy and laughter to extreme anger and pain. These heads are considered unique in the history of sculpture.4. **Psychological Themes**: Messerschmidt's character heads are often interpreted as representations of vario emotional states and psychological conditions. Some art historians have suggested that Messerschmidt may have suffered from a mental disorder himself, which influenced his work.5. **Inspiration and Purpose**: The motivation behind Messerschmidt's character heads remains the subject of debate among art historians. Some theories suggest that he created them as a response to inner psychological turmoil, while others propose that they were a reaction to the prevailing artistic trends of his time and a way to demonstrate his skill as a sculptor.6. **Materials and Techniques**: Messerschmidt primarily ed metal (bronze) for his character heads, and he often incorporated glass eyes to enhance the lifelike quality of the sculptures. His meticulo attention to detail and anatomical accuracy are notable.7. **Legacy**: Although Messerschmidt's character heads were not widely appreciated during his lifetime, they gained recognition in the 20th century as significant and innovative works of art. They have been the subject of extensive study and have influenced later artists interested in exploring psychological and emotional themes through sculpture.8. **Later Life and Death**: In his later years, Messerschmidt faced personal difficulties and financial challenges. He withdrew from public life and dedicated himself to his character heads. He died in 1783 in Bratislava, which was part of the Habsburg Empire at the time.Franz Xaver Messerschmidt's character heads continue to captivate and intrigue art enthiasts and scholars due to their enigmatic and expressive qualities. His work challenges conventional ideas of beauty and conformity in art and remains a testament to the exploration of human psychology through sculpture.
D'après un modèle de Franz Xaver Messerschmidt (1736-1783), Italie, début du XXe siècle Une Tête de Caractère Buste en marbre H. : 46 cm (18 in.) Bibliographie : M. Krapf, "Frans Xaver Messerschmidt 1736-1783", Ost-Fildern-Ruit, 2002. Paris, Musée du Louvre, "Frans Xaver Messerschmidt 1736-1783", Guilhem Scherf, Janvier- Avril 2011. An Italian carved marble figure of a characterful head, after a model by Franz Xaver Messerchmidt (1736-1783), early 20th century Estimation 3 000 - 5 000 €
Franz Xaver Messerschmidt (1736 Wiesensteig - 1783 Pressburg) Ein Erzbösewicht" Weißer Marmor. Zeitgenössische Skulptur (Ende 20./Anfang 21. Jh.) nach der ursprünglich als Zinnguss ausgeführten Nr. 33 aus der ab 1770 entstandenen, berühmten Serie der "Charakterköpfe", die sich heute im Belvedere in Wien befindet. H. ca. 45 cm. Contemporary white marble sculpture (late 20th/early 21 C.) after the original pewter cast head executed by Messerschmidt (1770-1783)."
Franz Xaver Messerschmidt (1736 Wiesensteig - 1783 Pressburg) Ein Erhängter" Weißer Marmor. Zeitgenössische Skulptur (Ende 20./Anfang 21. Jh.) nach der in Alabaster ausgeführten Nr. 25 aus der ab 1770 entstandenen, berühmten Serie der "Charakterköpfe", die sich heute im Belvedere in Wien befindet. H. ca. 50 cm. Contemporary marble sculpture (late 20th/early 21 C.) after the original alabaster head executed by Messerschmidt (1770-1783)."
Franz Xaver Messerschmidt (1736 Wiesensteig - 1783 Pressburg) nach "Der Gähner". Originaltitel Bronze, dunkel patiniert. Marmorsockel. Zeitgenössischer Guss (Ende 20./Anfang 21. Jh.) nach der um 1777-1781 geschaffenen, berühmten Zinnbüste "Der Gähner" ("Charakterkopf Nr. 5") im Museum Belvedere in Wien. Ges.-H. 57 cm. Vgl. zur Zinnbüste im Belvedere und weiteren Abgüssen: Maria Pötzl-Malikova: "Franz Xaver Messerschmidt. 1736-1783. Monografie und Werkverzeichnis", Belvedere Werkverzeichnisse Bd. 4, Wien 2015, Nr. 75, S. 294-97 (mit Abb.). Dark patinated bronze bust "The Yawner". Marble base. Late 20th/early 21st century contemporary cast after the tin cast bust by Messerschmidt.
Franz Xaver Messerschmidt (1736 Wiesensteig - 1783 Pressburg) nach "Der Schaafkopf". Originaltitel Bronze, dunkel patiniert. Marmorsockel. Zeitgenössischer Guss (Ende 20./Anfang 21. Jh.) nach der 1777-1783 geschaffenen, berühmten Alabasterbüste "Der Schaafkopf" ("Charakterkopf Nr. 17") im Museum Belvedere in Wien. Ges.-H. 59,5 cm. Vgl. zur Alabasterbüste im Belvedere und weiteren Abgüssen: Maria Pötzl-Malikova: "Franz Xaver Messerschmidt. 1736-1783. Monografie und Werkverzeichnis", Belvedere Werkverzeichnisse Bd. 4, Wien 2015, Nr. 87, S. 157, 317-19 (mit Abb.). Dark patinated bronze head "The Simpleton". Marble base. Late 20th/early 21st century contemporary cast after the alabaster bust by Messerschmidt.
the young man inscribed across the proper left side of the forehead: Physiologia, both with museum inventory numbers and labels printed: SAMMLUNG H.E.B. numbered: 445A and B in black ink
AFTER A MODEL BY FRANZ XAVER MESSERSCHMIDT (AUSTRIAN, 1736-1783): A 19TH CENTURY BISCUIT PORCELAIN BUST OF A MAN the bald headed man grimacing with veins protruding from his neck, raised on a 19th century turned fruitwood socle with ivory border, 23.5cm high overall
Messerschmidt, Franz Xaver - in der Art vonDrei Büsten, 19. Jh.(Wiesensteig 1736-1783 Pressburg) Über rundem profiliertem und geschwärztem Postament auf kurzem Sockel vollrund gestaltete und fein ausgearbeitete Kinderbüsten mit unterschiedlicher Mimik. Obstholz. H. 22,5 bis 27,5 cm.
Messerschmidt, Franz Xaver - in der Art vonPaar Büsten, 19. Jh.(Wiesensteig 1736-1783 Pressburg) Über achteckiger Plinthe auf profiliertem Sockel vollrund gestaltete Kinderköpfe in unterschiedlichen Gemütszuständen. Bronze, dunkelbraun patiniert. H. 17 cm. - Altersspuren.
Ivory, wood Pair of sculptural worked heads with a grinning, grimace-like facial expression Each mounted on a profiled black wooden base Height with base: each c. 15 cm The fine worked heads strongly remind of the character heads by the German-Austrian Baroque artist Franz Xaver Messerschmidt (1736-1783) who tried to depict all human affects within his famous series of c. 52 so called 'Kopfstücke' Condition: The heads are in very good condition with minor traces of age and wear. The coating of one base is slightly peeled off. (kre) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
MESSERSCHMIDT, F.X. (Franz Xaver Messerschmidt, 1736 Bratislava 1783) , No. 25 from a series of 'character heads', ca. 1816. Artificial stone, light-coloured and waxed. Character head of a patient undergoing magnet therapy. Cast of the original in the Austrian Gallery Belvedere. Inventory No. 5637. H 40 cm. Provenance: -formerly in the collection of the Prince of Liechtenstein in Valtice, Southern Moravia. - from a Viennese collection. MESSERSCHMIDT, F.X. (Franz Xaver Messerschmidt, 1736 Pressburg 1783) nach, Nr. 25 aus der Serie der 'Charakterköpfe', um 1816. Kunststein mit heller Schlemme überzogen und gewachst. Charakterkopf Patienten einer Magnet-Kur, der das magnetisierte Seil um den Hals gewunden hat. Abguss nach dem Original in der Österreichischen Galerie Belvedere. Mit Inventarnr. 5637. H 40 cm. Provenienz: - Ehemals Sammlung des Fürsten zu Lichtenstein in Feldsberg, Süd-Mähren. - Aus einer Wiener Sammlung. Mit Gutachten von Dr. M. Krapf, Wien 2014; darin betont er, dass der hier angebotene Kopf nicht einen Erhängten, sondern 'einen Patienten, der eine Magnet Kur erhält mit einem magnetisierten Seil um den Hals, wie solche Kuren der Freund, Arzt und Wunderheiler Franz Anton Mesner durchgeführt hat'. Franz Xaver Messerschmidt war einer der faszinierendsten Bildhauer der Aufklärung. Bevor er in der Wiener Akademie studierte, war er zwischen 1746-1752 bei seinem Onkel, dem Münchner Hofbildhauer Johann Baptist Straub, in der Lehre gewesen und anschliessend bei seinem Verwandten Philipp Jakob Straub in Graz. Darauf folgte ein Studienaufenthalt in Rom, wo Messerschmidt die antiken Werke studierte. Schon zu Beginn seiner Schaffenszeit wurde er von der Kaiserin Maria-Theresia sehr geschätzt; sie und andere zahlreiche Gelehrte beauftragten ihn mit Portraits, allerdings scheiterte seine anfangs vielversprechende Karriere aufgrund einer Intrige. Die für Messerschmidt in Aussicht gestellte Professur für Bildhauerei an der Wiener Akademie wurde ihm verwehrt, und für die erhoffte Hofbildhauerstelle in München wurde er ebenfalls abgelehnt. Messerschmidt zog sich zu seinem Bruder nach Pressburg zurück, wo er sich ausschliesslich der Schaffung von 'Charakter-Köpfen' widmete. Aus dieser Zeit stammt die bedeutende Serie von 52 als Selbstporträts gestalteten Charakterköpfen. Messerschmidt versuchte, sein Interesse für kunsttheoretische Debatten mit naturwissenschaftlichen Zusammenhängen in seinen Bildnissen auszudrücken, dabei inspirierte ihn die Magnetismuslehre seines Freundes und Arztes Franz Anton Mesmer. Messerschmidts Faszination für physiognomische Zustände und Affekte spiegeln sich in seinem Studium des menschlichen 'Mienenspiels' von lachenden, weinenden, wütenden und schreienden Grimassen wieder. Sie erscheinen dem Betrachter naturalistisch und irreal, als begeisternd und erschreckend gleichzeitig. Messerschmidts Büsten stehen für die Ideale der Kunst der Aufklärung des späten 18. Jahrhunderts, als man sich mit dem Wesen und den Empfindungen des Menschen befasste und aus den Bewegungen des Körpers und dem Gesichtsausdrucks die Regungen der Seele zu lesen versuchte. Mit seinem eindrucksvollen Werk war Messerschmidt seiner Zeit bei Weitem voraus. Nach seinem Tod verkaufte der Bruder die Büsten. Sehr selten erscheinen seine Skulpturen heute auf dem Markt. Lit.: M. Krapf, Franz Xaver Messerschmidt, o.O. 2002; S. 224 (Nr. 24, der identische Kopf). Ausstellungskatalog, Die Phantastischen Köpfe des Franz Xaver Messerschmidt, Katalog zur Ausstellung im Liebighaus. Skulpturensammlung, Frankfurt am Main, 15. November 2006 bis 11. März 2007, M. Bückling/U. Pfarr, Franz Xaver Messerschmidt: 1736-1783, Menschenbild und Selbstwahrnehmung, Berlin 2006.
After Franz Xaver Messerschmidt (German, 1736-1783) 'the happy baby' and 'the crying baby', late 19th century Bronze, mid-brown patina, the first cast to show the bust of a laughing baby, the other cast to show the bust of a crying baby, both raised on pedestal base. Tallest H: 9 3/4 in.
Marmorbüste eines Mannes, Höhe: 44,5 cm. Mit zur Grimasse verzogenem Gesicht, in Art von Franz Xaver Messerschmidt (1736 - 1783). Hellbrauner Veroneser Marmor. (880998)
Bronzekopf eines Grimasse schneidenden Mannes nach Modellvorbild von Franz Xaver Messerschmidt, 1736 Wiesensteig - 1783 Pressburg, Höhe: 33 cm. Länge: 27 cm. Breite: 53 cm. Charakterkopf eines Mannes mit Glatze, das Gesicht zur Grimasse verzogen, der Kopf stark vorgebeugt, mit Schulteransatz und seitlich angeschnittenen Schulterpartien. Bronzeguss, auf Granitsockel montiert. (881635)
PAIR BRONZE CHILD BUST SCULPTURES, After Franz Xaver Messerschmidt (German, 1736-1783); "The Happy Baby," and "The Crying Baby." Each mounted on round marble plinths. Heights: 4.25 inches.
CHARACTER HEAD, after F.X. MESSERSCHMIDT (Franz Xaver Messerschmidt, 1736 Pressburg 1783), German, 19th century. Light stone. Bust of a man with wrinkled face and wavy hair. H 42 cm. CHARAKTERKOPF, nach F.X. MESSERSCHMIDT (Franz Xaver Messerschmidt, 1736 Pressburg 1783), deutsch, 19. Jh. Heller Stein. Büste eines Mannes mit faltigem Gesicht und welligem Haar. H 42 cm. Provenienz: Deutscher Privatbesitz. Franz Xaver Messerschmidt war einer der faszinierendsten Bildhauer der Aufklärung. Bevor er in der Wiener Akademie studierte, war er zwischen 1746-1752 bei seinem Onkel, dem münchner Hofbildhauer Johann Baptist Straub, in der Lehre gewesen und anschliessend bei seinem Verwandten Philipp Jakob Straub in Graz. Darauf folgte ein Studienaufenthalt in Rom, wo Messerschmidt die antiken Werke studierte. Schon zu Beginn seiner Schaffenszeit wurde er von der Kaiserin Maria-Theresia sehr geschätzt; sie und andere zahlreiche Gelehrte beauftragten ihn mit Portraits, allerdings scheiterte seine anfangs vielversprechende Karriere aufgrund einer Intrige. Die für Messerschmidt in Aussicht gestellte Professur für Bildhauerei an der Wiener Akademie wurde ihm verwehrt, und für die erhoffte Hofbildhauerstelle in München wurde er ebenfalls abgelehnt. Messerschmidt zog sich zu seinem Bruder nach Pressburg zurück, wo er sich ausschliesslich der Schaffung von 'Charakter-Köpfen' widmete. Aus dieser Zeit stammt die bedeutende Serie von 52 als Selbstporträts gestalteten Charakterköpfen. Messerschmidt versuchte, sein Interesse für kunsttheoretische Debatten mit naturwissenschaftlichen Zusammenhängen in seinen Bildnissen auszudrücken. Die Faszination für physiognomische Zustände und Affekte spiegeln sich in seinem Studium des menschlichen 'Mienenspiels' von lachenden, weinenden, wütenden und schreienden Grimassen wieder. Sie erscheinen dem Betrachter naturalistisch und irreal, als begeisternd und erschreckend gleichzeitig. Lit.: Ausstellungskatalog Liebighaus, Die phantastischen Köpfe des Franz Xaver Messerschmidt. Skulpturensammlung, Frankfurt am Main, 15. November 2006 bis 11. März 2007, Maraike Bückling. U. Pfarr, Franz Xaver Messerschmidt: 1736-1783, Menschenbild und Selbstwahrnehmung, Berlin 2006.
AFTER A MODEL BY FRANZ XAVER MESSERSCHMIDT (1736-1783), AUSTRIAN, LATE 18TH/ 19TH CENTURY BUST OF MARTIN GEORG KOVACHICH signed: F. MESSER. SCHMIT. and inscribed SCHENKIVCZ ME GENUIT. TIRNAVIA PINGUIS ALEBAT. BUDA TENET. VULTUS ARS HABE ISTA MEOS. 1782 (Schenkvicz begot me. Fertile Tirnavia nurtured me. Buda keeps me. This work of art bears my facial features. 1782) lead-tin alloy (56.2% lead, 41.7% tin, and 1.1% copper), on a wood base bust: 41cm., 16 1/8 in. base: 9cm., 3½
Franz Xaver Messerschmidt (German, 1736-1793), a pair of patinated bronze tabletop busts of, respectively, a crying baby and a laughing baby, fourth quarter 19th century, both on integral waisted bronze bases, h. 7".
Franz Xaver Messerschmidt (German, 1736-1793), a pair of patinated bronze tabletop busts of, respectively, a crying baby and a laughing baby, fourth quarter 19th century, both on satin-polished black slate bases, h. 7".
PROPERTY FROM A EUROPEAN NOBLE FAMILY FRANZ XAVER MESSERSCHMIDT (1736-1783) AUSTRIAN, 1770-1783 AN IMPORTANT ALABASTER BUST OF THE SO-CALLED "RESCUED FROM DROWNING patinated alabaster carved with eyes tightly shut and mouth closed, neck arched, the head with mop-like wig, on later white marble socle (2) PROVENANCE Johann Adam Messerschmidt, brother of the sculptor Mr Stranz before 1793 By descent since purchased in the 19th century EXHIBITED Merkwuerdige Lebensgeschichte des Franz Xaver Messerschmidt K.K.Oeffentliche Lehrer des Bildhauerkunst, Vienna 1793 LITERATURE AND REFERENCES E.Kris, Psychoanalytic Explorations in Art, New York, first published 1952, 1974 reprint, illustrated fig.33 M.Pötzl-Malikova, Franz Xaver Messerschmidt, Vienna and Munich, 1982, pp.255-256 M.Krapf (ed), Franz Xaver Messerschmidt 1736-1783, exh.cat. Österreichische Galerie Belvedere, Vienna, 2002, plaster cast, p.168 CATALOGUE NOTE SUMMARY Of the 49 Character Heads exhibited in Vienna in 1793 only 16 were sculpted in alabaster. The present head - no. 29 in the series, the so-called Rescued from Drowning, Aus dem Wasser Geretteter - is the only original alabaster known to be located outside of Austria. Of the other alabasters from the 1793 exhibition: 2 are missing, 10 are in the Österreichische Galerie, Vienna, 1 is in the Historisches Museum der Stadt Wien and 2 formerly in the Sitte Collection in Vienna are believed to be in anonymous private collections in Austria. This is the first time an alabaster head by Messerschmidt has ever come to auction since the dispersal of the set of 49 heads at the end of the 19th century. LIFE AND WORK OF MESSERSCHMIDT Born near Ulm in Swabia in 1736, Franz Xaver Messerschmidt was descended on his mother's side from a long line of Bavarian sculptors. He was initially trained by his uncle Johann Baptist Straub, sculptor to the court in Munich. Following his apprenticeship in Munich, Messerschmidt moved to Vienna in 1755, where he attended the Imperial Academy of Arts. After an appointment to the Imperial Arsenal, initially to chisel the decorative elements on canons, he produced his first independent works for the Arsenal State Rooms: the gilt bronze bust of the Empress Maria Theresa and her consort Francis I of Lorraine and the reliefs of their son, later the Habsburg Emperor Joseph II, and his wife Maria Isabella of Parma. Further portrait, religious and allegorical sculpture followed, all in the Baroque taste. Following a journey to Rome in 1765, however, all was to change. By 1769 Messerschmidt produced his first neo-classical portrait, the lead bust of the art critic Franz von Scheyb (Historisches Museum, Vienna), which is now considered to be the first neo-classical portrait sculpture in Austria. Messerschmidt submitted the von Scheyb bust as his admission piece to the Imperial Academy and it marks the beginning of the new direction of his oeuvre. It was during these years that Messerschmidt gained greater recognition, soon becoming Deputy of Sculpture at the Academy. From 1765, Messerschmidt lived in the home of the physician and spiritual healer Franz Anton Mesmer (1734-1815), from whom we get the word mesmerism. Mesmer was involved in hypnotic cures together with the application of magnets in order to relieve patients of their disorders, in many cases psychologically induced. Whether quack or "wonder healer", Mesmer and his patients undoubtedly triggered a new departure in the sculptor's work. Krapf, in the recent Vienna exhibition catalogue, stresses the fact that Messerschmidt was "a realist whose conception of truth and in the spirit of the Enlightenment prompted him to abandon his role as a conformist artist and seek self enquiry". THE BELOVED HEADS: No. 29 RESCUED FROM DROWNING Messerschmidt started work in 1770 on the series of the "Character Heads" which at the time of his death in 1783 numbered 69. 49 of these were first exhibited in Vienna in 1793 accompanied by an itemized pamphlet, entitled Charakterköpfe, together with the titles by which each head is known today. The earliest heads were conventional representations in the Neo-classical style. The impetus for focusing all his energy on the series undoubtedly came in 1774 when he was passed over as head of the Imperial Academy. His behaviour was supposedly becoming more and more eccentric. The Academicians granted him a stipend and Messerschmidt left Vienna. Free from the constraints of the court and court patronage, disillusioned with society, he settled by 1776 in Pressburg, now Bratislava, in the Kingdom of Hungary and an Austrian dependency. In Pressburg, Messerschmidt was to devote the rest of his life, with the exception of a few commissions, to his "Beloved Heads". These are for the most part bald headed, displaying his own sanguine, melancholic and convulsive features in alabaster, lead and tin alloy as well as one in wood. Using himself as a model, he is recorded as spending numerous hours in front of the mirror becoming ever more reclusive and eccentric. The gallery director Christian von Mechl recorded in 1780 that "perpetual grimacing had ravaged his features." With his eyes tightly shut, his hair with an almost mop-like bedgraggled appearance and his mouth and neck so strained that the sinews appear to be standing out from the neck, the present head, entitled Rescued from drowning in the 1793 exhibition, can be compared with three others in the series, The Vexed Man (no. 21), The Haggard old Man with Aching Eyes (no.15) and The Hanged Man (no.25), the first two of which are also treated with hair, rather than being left bald. It has been suggested that the addition of hair was Messerschmidt's way of showing his disdain at the continued use of wigs in the eighteenth century and ultimately of the Baroque movement on which he had turned his back. The convoluted, posthumous 1793 description of the present bust details the angst, fear and numbing sensation of someone who has just been rescued from the water, his hair still dripping. However, it is unlikely that this interpretation was originally intended by Messerschmidt and it is inherent in the power of these busts that the intense emotions of each head are interpreted differently by every individual. It is this direct and personal impact of the character heads which has proved so engaging to the modern audience. HISTORY AND INFLUENCE OF THE HEADS Following Messerschmidt's death in 1783, 69 heads passed into the possession of his brother Johann Adam, who by 1793 had sold the series of 49 to the collector Stranz, who organised the initial exhibition. From 1808, when the busts were owned by Franz Jakob Steger, a bronze founder and landlord of an inn in the Prater, the Vienna amusement park, the heads began to be exhibited regularly, mostly in the Prater, thereby becoming associated with a form of popular culture which began to be reassessed by modern artists in the 20th century. The complete series was finally dispersed in 1889. By this time plaster casts had been made of them and it is through these and the lithograph by Rudolf Toma (illustrated on p.96), that we know how the whole series would have appeared. In 1906 the Viennese photographer Joselph Wlha published a photographic series of Messerschmidt's "Character Heads", which in turn influenced sculptors and painters later in the 20th century. Indeed Behr (op.cit.) records that a set of Wlha photographs were found in the estate of Pablo Picasso. Amongst many other modern artists who were directly inspired by Messerschmidt are Egon Schiele (Self-Portrait Photographs, 1914), Francis Bacon (Head IV, Screaming Pope,1949, which has been linked to The Yawner, no.16 in the series), Arnulf Rainer (Overdrawings of Franz Xaver Messerschmidt, 1975-76), Franz West (Anruf an Arnulf), Claes Oldenburg (Symbolic Self Portrait with Equals,1969) and Bruce Nauman (Ten Heads Circle, 1990). RELATED LITERATURE H.G.Behr et al. Charakterköpfe. Der Fall F.X.Messerschmidt, Winheim and Basel, 1983 Franz Xaver Messerschmidt Character Heads 1770-1783, exh.cat., Institute of Contemporary Arts, London, 1987
