Heinrich Max Imhof
Illustration — Heinrich Max Imhof (1834); portrait by Franz Xaver Winterhalter Heinrich Max Imhof (14 May 1795 or 1798, Bürglen - 4 May 1869, Rome) was a Swiss sculptor, in the Classical style. Max may be short for either "Maximilian" or "Maximus".
Heinrich Max Imhof

Franz Xaver Winterhalter · Sammlung von Bildnissen deutscher Künstler in Rom (Erstes Künstleralbum) – Bibliotheca Hertziana Rom · Public domain
- Born
- 1795 · Bürglen.
- Died
- 1869 · Rome.
- Nationality
- Switzerland
- Occupation
- sculptor · artist
- Teachers
- Johann Heinrich von Dannecker
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Illustration — Heinrich Max Imhof (1834); portrait by Franz Xaver Winterhalter Heinrich Max Imhof (14 May 1795 or 1798, Bürglen - 4 May 1869, Rome) was a Swiss sculptor, in the Classical style. Max may be short for either "Maximilian" or "Maximus".
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Biography
Biography
He was born to a family of tenant farmers and grew up in simple circumstances, but displayed an early talent for drawing. In 1811, he convinced his parents to let him serve an apprenticeship with the wood sculptor, Franz Abart, in Kerns. He made his first professional wood carvings at the parish church there, in 1814. Four years later the travel writer, Johann Gottfried Ebel, became aware of his carvings and brought him to Zürich, where he worked as a freelance sculptor, making portrait reliefs. His clients included the Prussian Crown Prince, Friedrich Wilhelm. In 1820 Ebel provided the means for him to continue his studies in Stuttgart with Johann Heinrich von Dannecker, then financed his first study trip to Rome. There, he familiarized himself with Classical styles, in the workshops of the Danish sculptor, Bertel Thorvaldsen. Not long after returning, he began making a model of "David with the Head of Goliath"; commissioned by his old client, Friedrich Wilhelm, for Charlottenhof Palace. He also received orders for several royal busts, as well as one of the Renaissance scholar, Johann Reuchlin, for display in the Walhalla Memorial. In 1836, king Otto of Greece appointed him a Professor at the newly established National Technical University of Athens. Poor health and a decrease in the number of commissions led him to return to Rome in 1838. He would live there for the rest of his life. Within a short time, he acquired clients from not only the German-speaking nobility, but the English and Russian as well. His financial situation remained secure until the outbreak of the Revolutions of 1848, which disrupted the international art market. In 1849, possibly in an effort to improve his situation, he married Henriette Ott (1825-1892), from Zürich. They had five daughters and two sons. He also took some students, including Adèle d'Affry (known as "Marcello"), and Ferdinand Schlöth, who later became his hated rival. During his last years, he suffered from rheumatism, which affected the quality of his work.
Identity
Identity
Heinrich Max Imhof is recorded with the occupation sculptor. Recorded as a citizen of Switzerland.
Life and career
Dated record
Life and career
The full dated record · 2 entries
1795
Heinrich Max Imhof was born on 14 May 1795.
1869
Heinrich Max Imhof died on 4 May 1869.
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Named by the record
Places
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Bürglen.
Birth place
Rome.
Death place
Primary material
Documents and archives
authority record
- Wikidata, structured authority record Q380783: Heinrich Max Imhof
General reference · Wikidata
reference work
- “Heinrich Max Imhof”, English Wikipedia, consulted as further reading
Reputable secondary · Wikipedia
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.SchweizKüLex 2 126 129 Imhof, Heinrich Max A. Küchler
- 2.Nekrologe – Heinrich Max Imhof. In: Kunstchronik. Beiblatt zur Zeitschrift für bildende Kunst, Jg. IV, Nr. 20, 6. August 1869, S. 189 (digi.ub.uni-heidelberg.de).
- 3.Albrecht Weiland: Der Campo Santo Teutonico in Rom und seine Grabdenkmäler. Band I, Herder, Freiburg im Breisgau 1988, ISBN 3-451-20882-2, S. 327 f.
- 4.Marianne Rolle. 2008-08-21.
- 5.Stefan Hess, Tomas Lochman (Hrsg.): Klassische Schönheit und vaterländisches Heldentum. Der Basler Bildhauer Ferdinand Schlöth (1818–1891). Basel 2004, S. 26 und 47; Stefan Hess: Zwischen Winckelmann und Winkelried. Der Basler Bildhauer Ferdinand Schlöth (1818–1891). Berlin 2010, S. 22 f. und 46.
- 6.Dauerleigabe LETTER Stiftung, abgerufen am 13. Februar 2020.
- 7.Kunstmuseum Basel auf der Website des Kunstmuseum Basel.
- 8.Das Stuttgarter Exemplar ist 1859 entstanden (Bezeichnung auf der Plinthe: „HEINR. IMHOF. FEC. ROMA 1859“).
- 9.Bezeichnung auf der Plinthe: „HEINR. IMHOF FEC. ROMA 1859“.
References
Citations
References
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Secondary witness
The Encyclopedia exists whether or not anything is for sale. Corrections are recorded rather than overwritten, and every version of this record is kept. Published 16 August 2026.
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