Barlach created this impressive work 'Wanderer in the Wind' in 1934, which is one of his most important, most popular and best-described works. Throughout the decades of Barlach's oeuvre, the fate of human beings is revealed to the viewer in characteristic, fundamental sensitivities. All the works are filled with deep thoughtfulness, loving humanity, reflection and contemplation, and the 'Wanderer in the Wind' literally braces itself against the storm of destruction of Barlach's works from 1934 onwards. The sculpture is based on a drawing made in 1927, which the artist transferred one-to-one. He is holding the cap on his head with his left hand and closing the cloak in front of the centre of his body with his right. The left side view illustrates the dynamic forward movement through a fold in the robe, which emphasises the supporting leg from which the power for the next step comes. The right-hand side, with a plinth and folds in the robe, is quieter, more reflective, as if the thoughts that make the departure imperative have arisen here full of longing, and the wanderer's face and expression are of particular significance. It shows a willingness to fight and determination. The sculpture becomes a monument to courage, resistance and self-confidence. The work 'Wanderer in the Wind' is a desperately insistent commitment to freedom and resistance. This is what makes the work so unusually precious and, unfortunately, timelessly topical. (Dr Friedhelm Häring, former museum director and curator) Sculpture in fine bronze, cast using the lost wax technique and chiselled, polished and patinated by hand. Moulded from the original and reduced in size (reduction). Open back. Limited edition of 980 pieces, individually numbered and with the signature 'E. Barlach' and the foundry mark. With numbered certificate of authenticity and limitation certificate. Size 33 x 16 x 5 cm (h/w/d). Weight 2.6 kg. ars mundi exclusive edition.

Ernst Barlach's 'Communion of Saints': Symbols of human existenceErnst Barlach was highly recognised as a writer and sculptor of figurative sculptures well into his 30s. In 1925, he became an honorary member of the Academy of Fine Arts in Munich. During this time, he also created various monumental memorials that would one day achieve world renown, including the 'Güstrow Memorial', the famous 'floating angel' in Güstrow Cathedral. In 1934, however, the tide turned. Barlach, now in his sixth decade, had to experience how his works were defamed as 'degenerate' and disappeared from museums. The monuments of honour he designed were destroyed, 'The Floating Man' from Güstrow Cathedral was even melted down - and if friends had not hidden a second cast until the end of the war, the work would be lost today. The situation is similar with the sculptures 'Woman in the Wind' and 'The Singer'. They were confiscated along with around 380 other works by Barlach. Their saviour was also their patron: Carl Georg Heise, museum director in Lübeck. In 1929, he had encouraged Barlach to design an ensemble of sculptures entitled 'Communion of Saints' for the west façade of St Catherine's Church in Lübeck. There were to be 16, but only three were realised between 1930 and 1932: 'The Beggar', 'The Singer' and 'The Woman in the Wind'. Three further figures: 'The Bound', 'The Pilgrim' and 'The Hornblower' have been preserved in preliminary models. Carl Georg Heise was dismissed in 1933, but obtained the three existing figures as private property. In 1939, the year after Barlach's death, they were handed over to him, and so they survived the war period 'in boxes [...] under the veranda in my mother-in-law's house', as he later reported. It was not until 1947 that they finally found their way into the designated niches of St Catherine's Church. The spatial effect of the Gothic church and the narrowness of the niches determined Barlach's concept of form. The proximity to medieval sculpture is unmistakable; however, Barlach did not create figures of saints in Christian iconography, but rather symbols of human existence and 'suffering and transfigured human figures facing the world, each struggling in his own way with his God' (Carl Georg Heise). Sculpture 'Woman in the Wind': The pleated garment enveloping the body characterises the physicality of the standing young woman and concentrates the gaze on the head, which serves as the sole means of expression. Bronze after a reduced model from 1931, cast by hand using the lost wax technique and patinated. Limited edition of 980 pieces, individually numbered and with the signature 'E. Barlach' and the foundry mark. ars mundi exclusive edition, published in collaboration with the Ernst Barlach Gesellschaft. With numbered certificate of authenticity and limitation. Format 7.3 x 32 x 5.5 cm (W/H/D), weight 1.95 kg.

Memorial and expression of friendship: The 'Hovering Man' One of Ernst Barlach's most famous works, the 'Hovering Man', was created as a memorial to the victims of the First World War and hung as such in a niche in Güstrow Cathedral from 1927-1937. However, it is also a memorial to friendship in two ways: as a complete sculpture (catalogue raisonné 425) and as a detailed cast 'Head of the Güstrow Memorial of Honour' (catalogue raisonné 426). We have Barlach's friends to thank for the fact that the complete sculpture still exists. Shortly after the artist's death in 1938, they had another cast made based on the existing model and hid it after 'The Floating Man' was classified as 'degenerate' by the Nazi authorities in 1937, removed from the cathedral and finally even melted down. It now hangs in the Antoniterkirche in Cologne and could in turn be used to make another cast for its original location. Barlach's masterpiece thus returned to Güstrow Cathedral in 1953 and has since then commemorated the victims of the world wars of 1914-1918 and 1939-45, with the dates engraved in stone beneath it. The 'Head of the Güstrow Memorial of Honour', Barlach's detailed cast from 1930, is also a document of a direct artistic friendship. Its facial features are quite clearly - although 'unintentionally', as Barlach later claimed - those of his artist friend Käthe Kollwitz. Her work was also ostracised in National Socialist Germany. In 1936, her works were removed from the Berlin Academy exhibition. From then on, she was practically no longer present as an artist. In retrospect, the 'Head of the Güstrow Monument of Honour' seems like a premonition of a community of fate: it is the portrait of an artist who Barlach admired as a friend and who, like him, soon faced difficult times. The special features of this edition: made of fine bronze, cast by hand using the lost wax technique. Moulded directly from the original and reduced in size. Limited to 980 copies, individually numbered, with foundry mark. ars mundi exclusive edition, published in collaboration with the Ernst Barlach Gesellschaft. With numbered certificate of authenticity and limitation. Version as a wall object. Detail cast of the 'Schwebender' (WVZ 424, 1927), first executed in 1930 (WVZ 426). Size 22.5 x 24 x 15 cm (W/H/D), weight 4.5 kg. With wall mounting.

Barlach's massive wooden sculpture 'Dreaming Woman' from 1912 is a work of art of enormous charisma. The female figure lies there, oblivious to the world, with her knees slightly drawn up, her eyes closed, her head leaning back in a relaxed manner with soft facial features, her hands resting in her lap - a symbol of the greatest serenity. Barlach devoted himself to dreams and dreamers several times during this period; indeed, on the eve of the First World War, it was an almost typical motif in many areas of art. Unlike his 'Dreamer' from the same year, however, there is not a trace of desperate foreboding or fearful uncertainty in the 'Dreaming Woman': the (day)dreaming figure is completely at peace with herself, seemingly unassailable by all the dangers of the world. Like all Barlach sculptures, the 'Dreaming Woman' lives from the masterfully staged contrast of strictly reduced form and strong emotional experience. The form of his sculptures, Barlach once commented laconically, 'corresponds to the soft waves of the Mecklenburg landscape' - the great art of the sculptor, however, lies in creating complex landscapes of the soul before the eye of the beholder in this almost primordially restrained formal language. Sculpture in fine bronze, cast and patinated by hand using the lost wax technique. Moulded directly from the original and reduced in size (reduction). Limited edition of 980 copies, individually numbered and with the signature 'E. Barlach' and the foundry mark. ars mundi exclusive edition, published in collaboration with the Ernst Barlach Gesellschaft. With numbered certificate of authenticity and limitation. Size 31 x 14.5 x 11.5 cm (W/H/D), weight approx. 3 kg.

'Ernst Barlach created a quarter of his sculptural work in wood. Gothic wooden sculptures are simply revelations for me', he said as early as 1909. Barlach carved his almost life-size 'Reading Monastery Pupil', 114.8 cm high, from oak in 1930. The figure, which now stands in the Gertrudenkapelle chapel in Güstrow, is part of a series of works by reading monks. The majestic block of his figure can now also be experienced as an ars mundi exclusive edition in the smaller bronze. Barlach brought back two fundamental experiences from his trip to Russia in particular, which are essential in all genres of his work. This is the human being, fatefully connected to the earth, himself like a plant of the earth. Then there is the wandering, searching human being, the inward-looking and listening person. In his sculpture, Barlach depicts this transformation from the heaviness of the earth into the spiritual. It is the possible transformation of every human being, the basic tenor of his impressive work 'Reading Monastery Student'. Here sits a young man, who is receiving the best possible education in a monastery school, with his eyes almost closed, because he can only find the answers to his search for meaning within himself. The word he has read has not passed him by. It has drawn close to him, has penetrated his form and his face as the real meaning of his existence, as the solid, the unbreakable. The reading monastery student has grasped the word of truth in the moment of a world second, the question that will possibly determine his whole life, who are you?' (Dr Friedhelm Häring, former museum director and curator)Sculpture in fine bronze, cast in the lost wax process and chiselled, polished and patinated by hand. Moulded from the original and reduced in size (reduction). Limited edition of 980 copies, individually numbered and with the signature 'E. Barlach' and the foundry mark. With numbered certificate of authenticity and limitation certificate. Size 24 x 15.5 x 9 cm (h/w/d). Weight approx. 4 kg. ars mundi exclusive edition.

Against all odds: Ernst Barlach's 'Shepherd in the Storm'. ars mundi exclusive edition, published in co-operation with the Kunsthalle Bremen. Ernst Barlach is one of the most important representatives of Realism and Expressionism. His training took him to Hamburg, Dresden and Paris. After travelling to Russia in 1907, which had a formative influence on him, he created his first wooden sculptures and bronze figures, which are among his best-known works today and in which he incorporated his impressions of Russian folk art. Among them is the figure 'Shepherd in the Storm' from 1908, which was originally executed in lime wood and was Barlach's first large wooden sculpture. The bearded shepherd is bracing himself against the wind with his head bowed and striding vigorously. With his right hand he presses his flat hat into his forehead, with his left he pulls the hem of his wide, puffy coat close to his body. Close at his heels, a dog follows him, seeking shelter between the shepherd's legs and beneath the billowing tip of his coat. Barlach had already prepared the motif a year earlier in a preliminary drawing, which is now privately owned. In the sculpture, the man and the animal merge on the almost oval plinth to form a triangular composition that seems to push forward like the bow of a ship against the resistance of the wind. The softly swaying contours of the coat enliven the closed structure of the group of figures. Even in his early works, Barlach was concerned with people and their living conditions. The sculpture 'Shepherd in the Storm' is the first in a series of works by Barlach that show man in confrontation with external forces, whereby he understood storm and wind as an expression of superhuman powers. The Bremen painter and patron Leopold Biermann acquired the sculpture in 1908 at the 16th exhibition of the Berlin Secession and donated it to the Kunsthalle Bremen. The 'Shepherd in the Storm' thus became the first work by Barlach to enter a public art collection. Sculpture 'Shepherd in the Storm': Original: Fine bronze, cast using the lost wax technique, chiselled, polished and patinated by hand. Moulded directly from the original and reduced in size (reduction). Limited edition of 980 pieces, individually numbered and with the signature 'E. Barlach' and the foundry mark. ars mundi exclusive edition, published in collaboration with the Kunsthalle Bremen. With numbered certificate of authenticity and limitation. Size 27.5 x 25 x 13 cm (h/w/d). Weight 4.8 kg. 'The Kunsthalle Bremen owns one of the most extensive collections of the expressionist sculptor Ernst Barlach, with many important sculptures and his entire oeuvre of prints. We are therefore delighted to share a reproduction of his major work 'Shepherd in the Storm' with the world. The carved wooden sculpture was created in 1908 and donated to the museum just one year later. For me, it symbolises the universal idea that hurdles are part of life. The easy path is not always the right one if you want to achieve your goals or fulfil your duties. (Prof Dr Christoph Grunenberg, Director of the Kunsthalle Bremen)

The horse - Franz Marc's favourite motif - is the symbol of life par excellence. It connects past and future, heaven and earth. Powerful and dynamic, it stands on the ground of reality and yet soars upwards into heavenly spheres. The colour blue symbolises the overriding spiritual, freedom and infinity. Sculpture based on the original painting from 1911, polymer moulding, cast by hand and painted by hand. Size 12 x 25 x 22 cm (W/H/D).

For Marc, the horse in all its elegance and vitality became a symbol of life, reality and freedom. It symbolises the power of culture; it is the horse that makes agriculture and mobility possible for man. But nature was already there before man: free, untouched and powerful.sculptor's model after the original in the Städtische Galerie im Lenbachhaus, Munich (catalogue raisonné Lankheit 906). Franz Marc's powerfully modelled pair of horses offers an image of tenderness, dynamism and perfect harmony - a symbol of modern sculpture. Edition in polymer art bronze, cast by hand and patinated by hand. Size 23 x 22 cm (W/H).

Friedensreich Hundertwasser spent a lifetime studying nature as a partner of mankind and called for a peace treaty with nature. The porcelain object 'Soul Tree Flower' reflects the longing for life, for beauty in harmony with nature. Work number PM XIV, variation after 925, produced exclusively for ars mundi by the Königlich privilegierte Porzellanmanufaktur Tettau. The high-quality object is set with real gold and manufactured with 16 special colours. Fired 3 times. Height 32 cm, diameter 15 cm. Strictly limited edition of 999 pieces, individually numbered by hand.accessories: The high-quality object 'Seelenbaum-Blume' is delivered in an exclusive black cardboard box with gold print. Copyright 2011 NAMIDA AG, CHThe illustrated works are protected by copyright. In particular, it is not permitted to copy, edit, print or publish these images. Infringements will be prosecuted under criminal and civil law.The displayed works of art are protected by copyright. In particular, it is not permitted to copy, edit, print or publish these illustrations. Violations will be prosecuted according to civil and criminal law.

In 1912, Georg Kolbe caused a sensation in Berlin with his 'Dancer' - his most famous work to date. The theme of (expressive) dance and expressive, even ecstatic movement pervaded his sculptural work well into the 1920s, as in his Kneeling Woman created in 1921. In the decade between these two works, Kolbe was awarded the title of professor (1918) and - together with Ernst Barlach and Wilhelm Lehmbruck - was admitted to the Prussian Academy of Arts (1919). In the 1920s, he was undisputedly regarded as one of the most important sculptors in Germany, and so he also attracted the attention of major art collectors around the world. A copy later found its way into the legendary art collection of Nelson Rockefeller; it was the model for our exclusive edition. Original: Rockefeller Collection/The Museum of Modern Art (MoMA). Sculpture in fine bronze, patinated. Cast by hand using the lost wax technique. Moulded directly from the original. Limited edition of 199 pieces, individually numbered and signed and bearing the foundry mark. Size 38 x 52.5 x 23 cm (h/w/d). Weight approx. 11 kg. ars mundi exclusive edition.

Original: Wooden sculpture, stained red-brown, original size 87.5 x 22.5 x 26 cm. Privately owned. Edition in bronze. Moulded directly from the original and reduced in size (reduction), cast by hand using the lost wax technique and patinated brown. Limited edition of 499 copies, numbered and bearing the signature and foundry mark taken from the original. ars mundi exclusive edition, published in collaboration with the heirs. With numbered certificate of authenticity and limitation. Size 32 x 8.5 x 9.5 cm (h/w/d). Weight 2.8 kg.

Käthe Kollwitz (1867-1945) was often perceived as a primarily socially, even politically motivated artist, as she repeatedly raised her voice for the poor and oppressed in her work. Kollwitz insisted on humanity even in inhumane times, and this alone could, indeed had to be understood as a political position. However, her significance to the present day lies in the fact that she never worked boldly, but at the same time lent the figures she created an intimacy that virtually precludes them from being read as one-dimensional 'symbols' or 'examples'. This can also be seen in a central work from her late oeuvre, 'Abschied' (Farewell) from 1940/41, in which the artist deals with the pain of the death of Karl Kollwitz, her partner for over half a century, who died in 1940. The motif of the embrace is often found in Kollwitz' work, here she moulds it into an image of the greatest closeness and intimacy at the moment of loss. It is a work of small gestures: while she still clings to him, he detaches himself from her - it is a leaving, but also a letting go, perhaps also the moment of acceptance of the inevitable. Sculpture in fine bronze, patinated. Cast by hand using the lost wax technique. Moulded directly from the original and enlarged. Limited edition of 980 pieces, individually numbered and bearing the signature and foundry mark taken from the museum original. With numbered certificate of authenticity and limitation certificate. Size 21 x 13.5 x 11.5 cm (h/w/d). Weight approx. 3.5 kg. ars mundi exclusive edition.

In her graphic and sculptural work, Käthe Kollwitz (1867-1945) repeatedly raised her voice in favour of the poor and oppressed. In particular, she developed the motif of the woman and mother, which she used to symbolise protection and care, but also guiltless suffering. Her sculpture 'Pietà' unites both motifs to a certain extent: on the one hand, the mother figure embraces her adult son lying in her lap; on the other hand, the figure is, as the artist herself put it, 'something like a Pietà' and thus draws on an art-historical motif that shows the suffering of Jesus' mother in the face of the dead Christ. However, Kollwitz expressly did not want her sculpture to be understood as religious. Rather, the mother depicted is 'an old, lonely and darkly contemplative woman' (according to Kollwitz), who, one could go on to say, retains her dignity even in the experience of catastrophe.her probably best-known sculpture was created at a time when the Nazi regime had banned Käthe Kollwitz from her profession. Today, an enlarged copy in the Neue Wache in Berlin commemorates the 'Victims of War and Tyranny'. Sculpture in fine bronze, patinated. Cast by hand using the lost wax technique. Directly moulded from the original and reduced in size (reduction). Limited edition of 980 pieces, individually numbered and bearing the signature and foundry mark taken from the original. With numbered certificate of authenticity and limitation certificate. Format 21.5 x 14.5 x 21 cm (h/w/d). Weight approx. 4.5 kg. ars mundi exclusive edition.

She was a pupil of the great Henri Matisse and one of the first, if not the first, German sculptor of distinction. Defamed as 'degenerate' during the Third Reich, some of her early works only survived the Nazi era and the war by chance. This sculpture is one of the few surviving works from the period before the Second World War. Her bronze demonstrates the artist's powerful and at the same time sensually concentrated creative power. Directly moulded from the original and reduced in size (reduction). Sculpture in fine bronze, cast by hand using the lost wax technique and patinated. Limited edition of 199 pieces, individually numbered and signed, with foundry mark. Size 6.5 x 32 x 5.5 cm. Weight 1.5 kg. ars mundi exclusive edition.

She was a pupil of the great Henri Matisse and one of the first, if not the first, German sculptor of distinction. Defamed as 'degenerate' during the Third Reich, some of her early works only survived the Nazi era and the war by chance. Out of grief over her many lost works, Moll attempted to recreate two of her works from the 1920s at the end of the 1940s. Her bronze 'Standing' demonstrates the artist's powerful and at the same time sensually concentrated creative power. Directly moulded from the original and reduced in size (reduction). Sculpture in fine bronze, cast by hand using the lost wax technique and patinated. Limited edition of 199 pieces, individually numbered and signed, with foundry mark. Size 6.5 x 34 x 6 cm. Weight 1.4 kg. ars mundi exclusive edition.

Marino Marini's 'Little Rider': ars mundi exclusive edition, published in collaboration with the Kunsthalle Bremen. The rider on a horse - art history has known the motif since antiquity, and it usually represents the powerful, the emperor and king, power in general. Modernism, however, is beginning to reinterpret it, distorting it beyond recognition. Our exclusive edition, limited to just 150 pieces worldwide, offers you the work of an artist who, along with Giacometti and Moore, is one of the most important sculptors of the last century. However, his equestrian stature is anything but an expression of power. The theme of 'horse and rider' fascinated Marino Marini for decades. His earliest works show them as a harmonious, finely crafted unit. The experiences of war, however, changed his main subject. His motif thus became a diagnosis of the times - and not least a bronze call to take a stand against the impending disaster. Original: Bronze, 41 x 28.5 x 13.5 cm, inv. no. 410- 1961/1, Kunsthalle Bremen - Der Kunstverein in Bremen. Sculpture in fine bronze, cast using the lost wax technique, chiselled, polished and patinated by hand. Limited edition of 150 copies, individually numbered and with the signature 'M.M.' taken from the original as well as the foundry and ars mundi hallmark. With numbered certificate of authenticity and limitation certificate. Size with base 33.5 x 23.5 x 11.5 cm (h/w/d). Weight approx. 3.8 kg. ars mundi Exclusive Edition. © VG Bild-Kunst, Bonn 2021 'Marino Marini's sculpture from 1947 conveys no expression of control or strong leadership. The reins are loose and the horse and rider are looking in different directions. With this figure, Marini is reflecting the events of his time. For me, the little rider is therefore also a reminder that it is important to remain vigilant and keep a close eye on current events. You need a clear stance, because everything else leads to a lack of direction. (Prof. Dr Christoph Grunenberg, Director of the Kunsthalle Bremen)

Resin figure based on Magritte's famous painting 'Le fils de l'homme' from 1964. 13 x 10.5 x 7.5 cm (H/W/D).

Sculpture in fine bronze, cast by hand using the lost wax technique. Patinated by hand. Limited world edition of 199 pieces, individually numbered and with artist's signature and foundry mark. Size 26 x 18 x 5 cm (W/H/D). ars mundi exclusive edition.

This expressive group of sculptures is an excellent example of Mastaller's fine powers of observation, which earned him the Augsburg City Art Prize in 1968. Sculpture in fine bronze, cast by hand using the lost wax technique. Patinated by hand. Limited world edition of 199 pieces, individually numbered and bearing the artist's signature and foundry mark. Size incl. sandstone base 34.5 x 14 x 7.5 cm.

As if dancing on their knees, this modern couple is embraced in intimate togetherness. Sculpture in fine bronze, cast by hand using the lost wax technique, patinated by hand. Limited world edition of 199 pieces, individually numbered and bearing the artist's signature and foundry mark. Size 17.5 x 17.5 x 10 cm (W/H/D). ars mundi exclusive edition.

Lehmbruck's art, like that of many sculptors of his time, was influenced by the work of Auguste Rodin. His motif is the human being, whereby he often detaches himself from real body proportions in order to achieve a stronger pictorial expression. Like Rodin, he later concentrated on individual parts of the body; the 'Lowered Head of a Woman' is ultimately part of his 'Large Standing Woman' from 1910, which he varied as a bust by limiting it to the head, neck and shoulder base. Sculpture 'Lowered Head of a Woman': Edition in cast stone with terracotta-coloured patina. Directly moulded from the original and reduced in size (reduction). Limited edition of 980 copies, individually numbered and with the signature taken from the original. ars mundi exclusive edition, published in collaboration with the Kunsthalle Bremen. With numbered certificate of authenticity and limitation. Size 23 x 23 x 13 cm (H/W/D). Weight 2.9 kg. 'Wilhelm Lehmbruck is one of the pioneers of modern sculpture, but he has always remained true to the human figure and a fundamental humanity. In my opinion, this manifests itself particularly beautifully in the 'Lowered Head of a Woman' from 1910. The sculptor is closely associated with the Kunsthalle Bremen, partly because of the then director Siegfried Salzmann, who previously headed the Lehmbruck Museum in Duisburg. (Prof. Dr Christoph Grunenberg, Director of the Kunsthalle Bremen)

Lehmbruck's art, like that of many sculptors of his time, was influenced by the work of Auguste Rodin. His motif is the human being, whereby he often detaches himself from real body proportions in order to achieve a stronger pictorial expression. Like Rodin, he later concentrated on individual parts of the body; the 'Lowered Head of a Woman' is ultimately part of his 'Large Standing Woman' from 1910, which he varied as a bust by limiting it to the head, neck and shoulder base. Sculpture 'Gesenkter Frauenkopf': Edition in fine bronze, cast by hand using the lost wax technique, chiselled, polished and patinated red-brown. Moulded directly from the original and reduced in size (reduction). Limited edition of 980 copies, individually numbered and bearing the signature and foundry mark taken from the original. ars mundi exclusive edition, published in collaboration with the Kunsthalle Bremen. With numbered certificate of authenticity and limitation. Size 23 x 23 x 13 cm (h/w/d). Weight 4.5 kg. 'Wilhelm Lehmbruck is one of the pioneers of modern sculpture, but he always remained true to the human figure and a fundamental humanity. In my opinion, this manifests itself particularly beautifully in the 'Lowered Head of a Woman' from 1910. The sculptor is closely associated with the Kunsthalle Bremen, partly because of the then director Siegfried Salzmann, who previously headed the Lehmbruck Museum in Duisburg. (Prof. Dr Christoph Grunenberg, Director of the Kunsthalle Bremen)

The theme of 'mother and child' occupied Lehmbruck throughout his life. The 1907 version is a central work from his first Paris exhibition; it shows the mother as a happy-loving woman and is still clearly indebted to classical sculpture. Lehmbruck's outstanding sense of scale and proportion already heralds the sculptural intensification of later works. The sculpture was created after Lehmbruck's first trip to Italy and its Pietà gesture is probably modelled on the Old Masters admired there. Sculptor's model based on the original, size 25.5 x 26 x 22 cm (W/H/D). Edition in fine bronze. Cast using the elaborate lost wax technique, patinated and polished by hand. Weight approx. 8.4 kg.