Thematically it was distinguished between monuments and wells as public sculptures on the one hand as well as sculptures on the other hand. The latter was arbitrary split up from one meter height into large and small sculptures because I had the impression that the former had a more public character, in comparison the latter together with the portraits had to be classified differently. Tombs and reliefs were documented separately. In the end a partly overlap between reliefs and other rubrics came to light. Therefore we can only give reasons for an original classification of "reliefs" to some extend. Nevertheless with the technique in mind it seems to be justified.
The numbering resulted of chapter and year of origin. Details written in italic are unsecured. Coloured markings in column No. mean destroyed , outline and sculpture is currently exhibited in public.
Works of which the year of origin cannot be proven give numbering (like 2.000.) at the end of the current chapter. Different years in the column "Year of Origin" are based on several references (mostly are given either year of contract or completion).
|Krey||=||Hans Krey, Hugo Lederer, Ein Meister der Plastik, Berlin 1931|
|L||=||Werkverzeichnis Karl Lederer|
|P||=||Foto Gerold Preiß|
|ÜZ||=||Übergabe Atelier Lederer an Znaimer Museum|