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SCULPTURES

Bronze figure “Devoir“ Hors concours
France 1895
Adrian-Etienne Gaudez (1845-1902)
Devoir means the duty to protect the homeland
LIT. Bronze statue sculptors Founders Vol. III page 723, FIG. 2627
Height approx. 60 cm
Adrian-Etienne Gaudez (1845-1902)
Devoir means the duty to protect the homeland
LIT. Bronze statue sculptors Founders Vol. III page 723, FIG. 2627
Height approx. 60 cm

Saint Sebastian
Flanders, around 1680-1700
The martyred saint, pierced with arrows, stands tied to a tree trunk.
The martyr looks up to the sky with his mouth open in agony. A formerly winged putto stands by his right leg, painfully and lovingly tending to his wounds.
Ivory, sculpturally carved, ebonized wood, brass.
Height: 37 cm
The martyred saint, pierced with arrows, stands tied to a tree trunk.
The martyr looks up to the sky with his mouth open in agony. A formerly winged putto stands by his right leg, painfully and lovingly tending to his wounds.
Ivory, sculpturally carved, ebonized wood, brass.
Height: 37 cm

Bronze sculpture
sign. Ernst Waegener
Berlin around 1910
The sandal binder was sculpted in bronze by Ernst Waegener and originated in Berlin around 1910.
E. Waegener was born in Hanover in 1854 and is proven sculptor since his training at the Royal Prussian Academy of Arts in Berlin.
After completing his studies, he went to Rome on a scholarship and took part in the major Berlin art exhibitions from 1893.
His works are shown in the exhibitions of the Berlin Secession, where he is listed as a full member until 1912.
Several monumental works have survived in Berlin, Hanover and on the town hall in Osnabrück.
Height: 32 cm, length: 37 cm, width: 14.5 cm
Berlin around 1910
The sandal binder was sculpted in bronze by Ernst Waegener and originated in Berlin around 1910.
E. Waegener was born in Hanover in 1854 and is proven sculptor since his training at the Royal Prussian Academy of Arts in Berlin.
After completing his studies, he went to Rome on a scholarship and took part in the major Berlin art exhibitions from 1893.
His works are shown in the exhibitions of the Berlin Secession, where he is listed as a full member until 1912.
Several monumental works have survived in Berlin, Hanover and on the town hall in Osnabrück.
Height: 32 cm, length: 37 cm, width: 14.5 cm

Kneeling boy
Probably Landshut, around 1760, walnut carved, around Christian Jorhan the Elder (1727-1804)
The adoring putto is supported on a moving rococo pedestal. He is fully sculpted and probably was originally part of a larger architecture.
Height: 85 cm, width: 40 cm, depth: 23 cm
The adoring putto is supported on a moving rococo pedestal. He is fully sculpted and probably was originally part of a larger architecture.
Height: 85 cm, width: 40 cm, depth: 23 cm

Bozzetto of a Maria Immaculata
Limewood with original frame
Würzburg. Around 1760
Mary, with scepter in her left hand stands on the earth globe sustained by an angel. On the high pedestal of rock-like moving rocailles, two putti fight against a dragon. Overcoming evil is expressed by the grace of Christ's birth with Mary crowned with stars.
This bozzetto could be the basis for a large Marian fountain or part of an altar.
Height: 42 cm
Würzburg. Around 1760
Mary, with scepter in her left hand stands on the earth globe sustained by an angel. On the high pedestal of rock-like moving rocailles, two putti fight against a dragon. Overcoming evil is expressed by the grace of Christ's birth with Mary crowned with stars.
This bozzetto could be the basis for a large Marian fountain or part of an altar.
Height: 42 cm

Baroque angel
Lime tree, with original frame,
Munich, Johann Baptist Straub's circle (1704-1784)
A winged putto head with a sideways turned look from the circle of Johann Baptist Straub's workshop.
Straub came from a family of Munich sculptors - he learned from his father and brothers in the workshop from 1718 and produced his first decorative works under Joseph Effner for the Munich Residence.
From 1726-1734, he went to Vienna and became court sculptor in Munich under Elector Karl Albrecht of Bavaria in 1737. He decorated many churches and monasteries in Upper Bavaria.
In Ettal monastery, similar angel heads have been preserved on the Korbiniansaltar.
Height: 40 cm
Munich, Johann Baptist Straub's circle (1704-1784)
A winged putto head with a sideways turned look from the circle of Johann Baptist Straub's workshop.
Straub came from a family of Munich sculptors - he learned from his father and brothers in the workshop from 1718 and produced his first decorative works under Joseph Effner for the Munich Residence.
From 1726-1734, he went to Vienna and became court sculptor in Munich under Elector Karl Albrecht of Bavaria in 1737. He decorated many churches and monasteries in Upper Bavaria.
In Ettal monastery, similar angel heads have been preserved on the Korbiniansaltar.
Height: 40 cm

Mary Immaculate
Lime wood with original gilding and frame
Franconia, around 1730
The star-crowned Maria Immaculata (immaculate Mary) stands with her right foot on the serpent with the apple of knowledge, which enwinds the globe of the earth. This depiction formulates the threat of evil to the world and shows Mary as victress through the grace of Christ's birth.
Height: 45 cm
Franconia, around 1730
The star-crowned Maria Immaculata (immaculate Mary) stands with her right foot on the serpent with the apple of knowledge, which enwinds the globe of the earth. This depiction formulates the threat of evil to the world and shows Mary as victress through the grace of Christ's birth.
Height: 45 cm

Female nude
Bronze burnished, inscribed, and dated Hans Hubert Dietsch - Sachsenhausen, Berlin 1926
Height: 64 cm
Height: 64 cm

Venus and Cupid
17th century, attributed to Adam Lenkhardt
Ivory, fully sculpted.
On an octagonal wooden base stands the goddess Venus, dressed only in a loincloth, looking down lovingly on the Armor boy who, smiling triumphantly, hands her the Apple of Paris.
This high-quality small sculpture is traditionally attributed to Adam Lenkhardt (Würzburg 1610—1661 Vienna), one of the important representatives of Baroque ivory carving.
After apprenticing under his father, Nikolaus Lenkhardt, Adam travelled through Italy and settled in Vienna in 1638, where he advanced to become the chamber sculptor to Prince Karl Eusebius of Liechtenstein from 1642 to 1660. He created very high-quality small sculptures with both profane and sacred motifs.
Height 31,5 cm.
Ivory, fully sculpted.
On an octagonal wooden base stands the goddess Venus, dressed only in a loincloth, looking down lovingly on the Armor boy who, smiling triumphantly, hands her the Apple of Paris.
This high-quality small sculpture is traditionally attributed to Adam Lenkhardt (Würzburg 1610—1661 Vienna), one of the important representatives of Baroque ivory carving.
After apprenticing under his father, Nikolaus Lenkhardt, Adam travelled through Italy and settled in Vienna in 1638, where he advanced to become the chamber sculptor to Prince Karl Eusebius of Liechtenstein from 1642 to 1660. He created very high-quality small sculptures with both profane and sacred motifs.
Height 31,5 cm.

Powerful large pair of putti
Mondsee Monastery / Salzburg, Meinrad Guggenbichler, around 1700
Lime wood, carved. The original colouring and gilding has been preserved.
Johann Meinrad Guggenbichler (Einsiedeln 1649 - 1723 Mondsee) was the son of a stone sculptor and master builder who was apprenticed in Dillingen. From 1678 he worked as a monastery sculptor for Mondsee Monastery. The successful, highly esteemed M. Guggenbichler received important commissions from the Prince-Bishop of Salzburg from 1700 onwards.
The large sculptures shown here could have been assistant figures from an altar or architectural elements of a profane, princely room decoration.
Height 70 cm, width 38 cm.
Lime wood, carved. The original colouring and gilding has been preserved.
Johann Meinrad Guggenbichler (Einsiedeln 1649 - 1723 Mondsee) was the son of a stone sculptor and master builder who was apprenticed in Dillingen. From 1678 he worked as a monastery sculptor for Mondsee Monastery. The successful, highly esteemed M. Guggenbichler received important commissions from the Prince-Bishop of Salzburg from 1700 onwards.
The large sculptures shown here could have been assistant figures from an altar or architectural elements of a profane, princely room decoration.
Height 70 cm, width 38 cm.

Very high quality figure of the Virgin Mary with Infant Jesus
Upper Swabia,around 1630, attributed to Jörg and Michael Zürn.
The fully sculpted Madonna of Iime wood stands on a richly curved pedestal with the Christ Child in her arms.
Lush folds of her garment frame the intimate depiction of the mother with her child. With a sceptre in her hand, she gracefully yet dignifiedly points to the miracle on her arm. The Christ Child looks at the viewer and, with the globe in his hand, is the expression of divine grace.
From the important workshop of the Zürn family of sculptors on Lake Constance, in addition to large ecclesiastical commissions, such as the altar of the Virgin Mary in Überlingen Minster and works in Salem Monastery, sculptures have survived that were more for private devotion.
Height 22.5 cm.
The fully sculpted Madonna of Iime wood stands on a richly curved pedestal with the Christ Child in her arms.
Lush folds of her garment frame the intimate depiction of the mother with her child. With a sceptre in her hand, she gracefully yet dignifiedly points to the miracle on her arm. The Christ Child looks at the viewer and, with the globe in his hand, is the expression of divine grace.
From the important workshop of the Zürn family of sculptors on Lake Constance, in addition to large ecclesiastical commissions, such as the altar of the Virgin Mary in Überlingen Minster and works in Salem Monastery, sculptures have survived that were more for private devotion.
Height 22.5 cm.

Full-sculptured lying Iion
Austria, probably Tyrol, around 1700
The very vividly carved recumbent Iion in walnut shows fine fur markings over its entire surface. The original patina has survived very well on the sculpture.
It is difficult to say whether this small sculpture was used for a work of art, an unusual piece of furniture or decoration in a room.
Length 40 cm.
The very vividly carved recumbent Iion in walnut shows fine fur markings over its entire surface. The original patina has survived very well on the sculpture.
It is difficult to say whether this small sculpture was used for a work of art, an unusual piece of furniture or decoration in a room.
Length 40 cm.

Miniature heads of two winged puttl
Naples, mid-18th century
The busts of the putti are made of fired clay and finely painted.
The chubby-cheeked pair of angels is equipped with strong wings and has the original setting from the period of origin.
The small sculpture shows the high artistry of the Neapolitan artists, who were famous in the 18th century for their cots, the accompanying figures, animals, architecture and accessories with bright colours.
Our pair of putti could have hovered as a crowning glory above the cot with the baby Jesus lying in it at the stable of Bethlehem.
Height 7.5 cm, width 7.5 cm.
The busts of the putti are made of fired clay and finely painted.
The chubby-cheeked pair of angels is equipped with strong wings and has the original setting from the period of origin.
The small sculpture shows the high artistry of the Neapolitan artists, who were famous in the 18th century for their cots, the accompanying figures, animals, architecture and accessories with bright colours.
Our pair of putti could have hovered as a crowning glory above the cot with the baby Jesus lying in it at the stable of Bethlehem.
Height 7.5 cm, width 7.5 cm.

Putti couple with fruit bowl
Vienna, Theodor Friedl around 1870
Inscribed on the base “fecit T. Friedl” and “Gegossen J.C. Hennick”.
The large-format cast made of gold-plated metal shows two fully plastic, lively putti attentively carrying a bowl of fruit. In the spirit of baroque sculpture, that moment of movement is captured here with virtuosity in which the greatest tension lies - both physically and mentally. In the watchful eyes of the putti, the greatest concentration is on balancing the sweet but heavy harvest on the tray.
Friedl (Vienna 1842-1900 Kirchau / Lower Austria) studied at the Vienna Academy of Fine Arts and created numerous sculptures. His main works are the marble steed taming groups on Maria-Theresien-Platz in Vienna, other sculptures and architectural sculptures can be found in Hamburg, Budapest, Augsburg and Prague.
Height 92 cm.
Inscribed on the base “fecit T. Friedl” and “Gegossen J.C. Hennick”.
The large-format cast made of gold-plated metal shows two fully plastic, lively putti attentively carrying a bowl of fruit. In the spirit of baroque sculpture, that moment of movement is captured here with virtuosity in which the greatest tension lies - both physically and mentally. In the watchful eyes of the putti, the greatest concentration is on balancing the sweet but heavy harvest on the tray.
Friedl (Vienna 1842-1900 Kirchau / Lower Austria) studied at the Vienna Academy of Fine Arts and created numerous sculptures. His main works are the marble steed taming groups on Maria-Theresien-Platz in Vienna, other sculptures and architectural sculptures can be found in Hamburg, Budapest, Augsburg and Prague.
Height 92 cm.

Powerful female torso
Gerhard Schliepstein (Brunswick 1886-1963 Berlin)
Plaster, mounted and signed on the side.
The torso is listed in the catalogue of works of the artist currently being processed by Andrea Müller-Fincker. After completing his studies at the University of Fine Arts in Berlin, Schliepstein initially worked as a freelance artist. From 1911, he worked for KPM and from 1929 exclusively for Rosenthal.
His initially naturalistic figures were followed by more and more expressionistic, expressive designs during the 1920s, to which this female nude can also be assigned. Numerous museums exhibit Schliepstein’s work, including the Bröhan Museum Berlin, the Porzellanikon in Selb and the Museum of Applied Arts and Sciences in Sydney.
Provenance: From the property of the artist’s family.
Height 83 cm.
Plaster, mounted and signed on the side.
The torso is listed in the catalogue of works of the artist currently being processed by Andrea Müller-Fincker. After completing his studies at the University of Fine Arts in Berlin, Schliepstein initially worked as a freelance artist. From 1911, he worked for KPM and from 1929 exclusively for Rosenthal.
His initially naturalistic figures were followed by more and more expressionistic, expressive designs during the 1920s, to which this female nude can also be assigned. Numerous museums exhibit Schliepstein’s work, including the Bröhan Museum Berlin, the Porzellanikon in Selb and the Museum of Applied Arts and Sciences in Sydney.
Provenance: From the property of the artist’s family.
Height 83 cm.

Sculpture of a young man
Mexico, Francisco Dumaine 1866
Marble, signed and dated.
In front of two bundles of wheat at his feet standing naked man between childhood and adolescence, covered only with a leaf, with his right hand raised to his forehead. The aesthetics of the body refer to classic, Mediterranean works of sculpture. The sculpture has preserved a beautiful, naturally grown surface of the marble.
Height 124 cm.
Marble, signed and dated.
In front of two bundles of wheat at his feet standing naked man between childhood and adolescence, covered only with a leaf, with his right hand raised to his forehead. The aesthetics of the body refer to classic, Mediterranean works of sculpture. The sculpture has preserved a beautiful, naturally grown surface of the marble.
Height 124 cm.

Early baroque, fully plastic seated figure of Hercules
Probably Padua, 17th century
Bronze casting with original, dark, almost black lacquer patina.
The athletic ancient hero sits leaning against a rock covered with a lion skin, presenting the three golden apples from the garden of the Hesperides in his outstretched right hand and leaning his left arm relaxed on his mace. The bearded head is crowned by a tied wreath, his gaze rests on the apples of immortality, which he was able to steal with a ruse from the garden guarded by a dragon - his impressively formed, muscular body was therefore rather irrelevant for these of his twelve heroic deeds.
The pictorial type of the seated hero goes back to a Hercules figure from the 1st / 2nd century AD, which is kept in the antiques collection of the Kunsthistorisches Museum Vienna (Inv. VI 342).
Height 52 cm.
Bronze casting with original, dark, almost black lacquer patina.
The athletic ancient hero sits leaning against a rock covered with a lion skin, presenting the three golden apples from the garden of the Hesperides in his outstretched right hand and leaning his left arm relaxed on his mace. The bearded head is crowned by a tied wreath, his gaze rests on the apples of immortality, which he was able to steal with a ruse from the garden guarded by a dragon - his impressively formed, muscular body was therefore rather irrelevant for these of his twelve heroic deeds.
The pictorial type of the seated hero goes back to a Hercules figure from the 1st / 2nd century AD, which is kept in the antiques collection of the Kunsthistorisches Museum Vienna (Inv. VI 342).
Height 52 cm.

Extremely high-quality Madonna and Child
Southern Germany, 1st half of the 17th century.
Carved with fruit wood, with remains of the original paint finish.
The fine, early Baroque figure of Mary stands raised on a curved and stepped base. Mary holds her son in both hands, who carries the orb in his left hand and has raised his right in a gesture of blessing. The delicate, graceful facial features of the figures harmonize with the softly falling, detailed folds of the drapery.
Height 38.5 cm.
Carved with fruit wood, with remains of the original paint finish.
The fine, early Baroque figure of Mary stands raised on a curved and stepped base. Mary holds her son in both hands, who carries the orb in his left hand and has raised his right in a gesture of blessing. The delicate, graceful facial features of the figures harmonize with the softly falling, detailed folds of the drapery.
Height 38.5 cm.

Saint Sebastian
Niederrheinischer Meister, around 1520
Saint Sebastian from Fürstenberg's possession, fully sculptured sculpture of the saint carved from oak. Whereas in the representations handed down from the Gothic period the main focus was still on the suffering and weakened body, this sculpture from the early 16th century focuses on the strength and beauty of the muscular, male saint. The fact that Sebastian does not die from the arrows shot at him, but survives the martyrdom through his faith - to which he will later confess again - is probably the basis for the representation of the harmonious, strong body.
Height 95 cm.
Provenance: Countess Fürstenberg-Heidingen.
Saint Sebastian from Fürstenberg's possession, fully sculptured sculpture of the saint carved from oak. Whereas in the representations handed down from the Gothic period the main focus was still on the suffering and weakened body, this sculpture from the early 16th century focuses on the strength and beauty of the muscular, male saint. The fact that Sebastian does not die from the arrows shot at him, but survives the martyrdom through his faith - to which he will later confess again - is probably the basis for the representation of the harmonious, strong body.
Height 95 cm.
Provenance: Countess Fürstenberg-Heidingen.

A pair of Amoretti dancing and making music
Upper Italy, 17th century
Bronze with a beautiful, dark brown patina. The two enchanting statuettes are characteristic of the figure style of the sculptor Niccolò Roccatagliata (1593-1636), who mainly worked in Venice. In addition to major church commissions, he is best known for his numerous statuettes on allegorical and mythological subjects. The two winged companions of Cupid, strong and graceful at the same time, each stand on a shell and thus also refer to the meerschaum-born Venus - goddess of love and beauty.
Height 37 cm.
Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 597-628, fig. 667-692.
Bronze with a beautiful, dark brown patina. The two enchanting statuettes are characteristic of the figure style of the sculptor Niccolò Roccatagliata (1593-1636), who mainly worked in Venice. In addition to major church commissions, he is best known for his numerous statuettes on allegorical and mythological subjects. The two winged companions of Cupid, strong and graceful at the same time, each stand on a shell and thus also refer to the meerschaum-born Venus - goddess of love and beauty.
Height 37 cm.
Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, pp. 597-628, fig. 667-692.

Saint George
Probably northern France or Burgundy, 14th century
The detailed sandstone sculpture shows typical features of the soft, northern French / Burgundian style. The fine face, the carefully draped folds of the robe and the elegantly curved body give the statue a graceful look. As early as the 12th century, Saint George was associated with the legend of the dragon slayer, who freed the land from evil in the fight against dragons and symbolized knightly virtues such as courage, strength and bravery. The forearm later addition.
Height 92 cm.
The detailed sandstone sculpture shows typical features of the soft, northern French / Burgundian style. The fine face, the carefully draped folds of the robe and the elegantly curved body give the statue a graceful look. As early as the 12th century, Saint George was associated with the legend of the dragon slayer, who freed the land from evil in the fight against dragons and symbolized knightly virtues such as courage, strength and bravery. The forearm later addition.
Height 92 cm.

Late Gothic Resurrection Christ
Franconia, 16th century
The body of Christ with the wounds is clad only in the loincloth and wrapped in a moving, curved cloak, which is artfully draped around shoulders, arms and legs in deeply carved folds. The face shows the peaceful, rapt expression of the Son of God, who has overcome death and suffering and performs the gesture of blessing with his right hand.
Height 82 cm.
The body of Christ with the wounds is clad only in the loincloth and wrapped in a moving, curved cloak, which is artfully draped around shoulders, arms and legs in deeply carved folds. The face shows the peaceful, rapt expression of the Son of God, who has overcome death and suffering and performs the gesture of blessing with his right hand.
Height 82 cm.

Renaissance bronze of Apollo
Venice, around 1600
Attributed to the workshop of Girolamo Campagna (1549-1617). Campagna settled in Venice in 1572 and soon headed an important sculptor's workshop there, which was primarily famous for its high-quality small bronzes. Its mythological figures, in particular, often made to decorate chimney-goats, served as models for numerous Venetian bronze foundries. The ideal concepts of antiquity come into their own here both in the representation itself and in its excellent processing. The spear is a later addition.
Height 27 cm.
Volker Krahn, Bronzetti veneziani, Cologne 2003, cat.no.36, p. 144.
Attributed to the workshop of Girolamo Campagna (1549-1617). Campagna settled in Venice in 1572 and soon headed an important sculptor's workshop there, which was primarily famous for its high-quality small bronzes. Its mythological figures, in particular, often made to decorate chimney-goats, served as models for numerous Venetian bronze foundries. The ideal concepts of antiquity come into their own here both in the representation itself and in its excellent processing. The spear is a later addition.
Height 27 cm.
Volker Krahn, Bronzetti veneziani, Cologne 2003, cat.no.36, p. 144.

Gothic terracotta relief
Probably Straubing, around 1460
With rests of its original, polychrome frame.
The picture of crowned Maria Iactans flanked by two angels is a common type of the picture of the Virgin Mary in devotional pictures since the Middle Age.
The Lower Bavarian area around Landshut and especially around Straubing is known for this kind of extraordinarily fine works of terracotta.
Height 31,8 cm, width 26 cm.
With rests of its original, polychrome frame.
The picture of crowned Maria Iactans flanked by two angels is a common type of the picture of the Virgin Mary in devotional pictures since the Middle Age.
The Lower Bavarian area around Landshut and especially around Straubing is known for this kind of extraordinarily fine works of terracotta.
Height 31,8 cm, width 26 cm.

Large gueridon figure of an Egyptian woman
Venice, around 1865
Wood, carved and framed, partially gilded. On a pedestal adorned with lancet leaves and a surrounding animal frieze with four kneeling servants the impressive figure of a graceful, richly adorned Egyptian beauty, carrying a tray on her head.
Since Napoleon's campaign in Egypt in 1798, the Orient has inspired numerous scholars, writers and artists. A veritable Egyptomania developed, which was usually more inspired by romanticizing fantasies about the strange, exotic culture than by verifiable sources.
Representations of sensual odalisques or free-spirited dancers fueled orientalism in the western world in the 19th century.
Height 210 cm.
Wood, carved and framed, partially gilded. On a pedestal adorned with lancet leaves and a surrounding animal frieze with four kneeling servants the impressive figure of a graceful, richly adorned Egyptian beauty, carrying a tray on her head.
Since Napoleon's campaign in Egypt in 1798, the Orient has inspired numerous scholars, writers and artists. A veritable Egyptomania developed, which was usually more inspired by romanticizing fantasies about the strange, exotic culture than by verifiable sources.
Representations of sensual odalisques or free-spirited dancers fueled orientalism in the western world in the 19th century.
Height 210 cm.
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