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 conception 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 'Der Sänger (Singender Klosterschüler)': In a strictly upright posture and with a band of music in his hands, the young monk raises his voice. The gaze is drawn to the face - it is full of concentration and devotion, be it to God or to the divine power of music. 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. Size 7.5 x 33 x 5 cm (W/H/D), weight 2.2 kg.

This masterpiece by Ernst Barlach, cast in bronze in 1928, is an icon of modernism and probably the most frequently depicted sculptural work of German origin in the world. It adorns the covers of many illustrated books and is a permanent fixture in world-famous museums and collections, including the Museum of Modern Art in New York. In this sculpture we recognise 'infinity in the silent mirror of clear sounds, simple tones' (as Barlach wrote about a chance musical experience in a note dated 23 August 1914). 'The Singing Man' is a perfect example of what Barlach formulated as his artistic credo: 'My mother tongue is the human figure, or the milieu, the object through or in which man lives, suffers, rejoices, feels, thinks. To mark the 150th anniversary of his birth, we have produced a limited edition of just 150 copies of his famous 'Singing Man' as a large sculpture, available exclusively from ars mundi. Sculpture in fine bronze, cast by hand using the lost wax technique, chiselled and patinated. Moulded directly from the original and reduced in size (reduction). Limited edition of 150 pieces worldwide, individually numbered and with the signature 'E. Barlach' and the foundry mark. ars mundi exclusive edition. With numbered certificate of authenticity and limitation certificate. Size 34 x 26 x 40 cm (h/w/d). Weight approx. 13 kg.'One of the most outstanding and popular designs in Ernst Barlach's oeuvre is 'The Singing Man' from 1928, when the artist was at the height of his creative powers. Barlach's basic motif is man looking into his innermost being to the point of the abysmal. Posture, contemplation and thoughtfulness characterise his expressions. Listening is part of singing. Breathing technique and language must form a common arc from which purity emanates. Singing, like all music, is fleeting. What strikes the listener is not the song, the content. It is the sequence of notes, the manner, the melos, the uniqueness in which the song joins the cosmos as a member of an infinite order. It is the deep moment of realisation that the artist captures in every fold of his robe, in his whole body. It resonates and resounds through the sculpture (personare) and makes the person of the singer the instrument of something more significant.' (Dr Friedhelm Häring - former museum director and curator)

'It was a fellow countryman who was travelling between Güstrow and Rostock. He sat opposite me with his mighty body so motionless that our knees were touching, there was no question of drawing. I had no choice but to draw him until I finally memorised him. This is how Ernst Barlach describes his encounter with the fellow traveller who would later serve as a model for his sculpture. A mature man trudges against the wind with his hands clasped behind his back. The sculpture is reminiscent of Goethe's privy councillor. One could also think of the great Ludwig van Beethoven, who is making his way through the streets of Vienna's historic centre in an overcoat. Both faced the wind and many a storm with courage and a spirit of contradiction throughout their lives. Barlach, like Goethe and Beethoven, was a passionate wanderer and walker. Continuing on his path through life is only a walk in exceptional cases. With eyes searching in the distance and whistling a defiant melody, Barlach's walker defies everything. His walker shows poise through and through. He does not go astray. He stands up to the wind. He exudes great urgency. It conveys impressive realisation, strength and power. Barlach's Stroller goes his own way, unperturbed by generational ideas, zeitgeist and fashions. (Dr Friedhelm Häring - former museum director and curator) Sculpture in fine bronze, cast by hand using the lost wax technique, chiselled and patinated. 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. With numbered certificate of authenticity and limitation certificate. Size 28 x 13.5 x 9.5 cm (h/w/d). Weight 4.8 kg.

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 'Tree of Life' by Fuchs and Askew It was a request to Ernst Fuchs that triggered the creation of the 'Tree of Life': Originally, the sculpture was to serve as an award for people all over the world who have rendered outstanding services to the preservation of forest areas. When the first sketches were finally completed, the client cancelled his commission. Fuchs decided to complete the artwork anyway and asked Askew to help him realise it. In the end, so many joint ideas flowed into the sculpture that it is now considered a joint work. The 'Tree of Life' combines ecological ideas with the mythological-fantastic motifs so typical of both artists. The primal symbol of fertility and abundance of life already appears in ancient oriental art and pervades art history throughout antiquity. It is even a frequently appearing motif in Indian art. As a symbol celebrating life (and in the Christian interpretation since the Middle Ages also: the resurrection), it has fascinated artists of all times - even modern ones, just think of Klimt's famous realisation in the Stoclet frieze. Fuchs and Askew remain figurative and concrete in their Tree of Life: a female torso grows out of the trunk as a symbol of the maternal, life-giving, surrounded by rich foliage.ars mundi exclusive edition in three versions: Version made of fine bronze, cast using the lost wax technique, with an antique green patina and partially polished. Limited world edition of 299 copies, numbered and signed. Size 30 x 42 x 11 cm (W/H/D). Weight 7.4 kg.

The 'Tree of Life' by Fuchs and Askew It was a request to Ernst Fuchs that triggered the creation of the 'Tree of Life': Originally, the sculpture was to serve as an award for people all over the world who have rendered outstanding services to the preservation of forest areas. When the first sketches were finally completed, the client cancelled his commission. Fuchs decided to complete the artwork anyway and asked Askew to help him realise it. In the end, so many joint ideas flowed into the sculpture that it is now considered a joint work. The 'Tree of Life' combines ecological ideas with the mythological-fantastic motifs so typical of both artists. The primal symbol of fertility and abundance of life already appears in ancient oriental art and pervades art history throughout antiquity. It is even a frequently appearing motif in Indian art. As a symbol celebrating life (and in the Christian interpretation since the Middle Ages also: the resurrection), it has fascinated artists of all times - even modern ones, just think of Klimt's famous realisation in the Stoclet frieze. Fuchs and Askew remain figuratively concrete in their Tree of Life: a female torso grows out of the trunk as a symbol of the maternal, life-giving, surrounded by rich foliage.ars mundi exclusive edition in three versions: Version as a marble cast with gold painting, cast by hand. Limited edition of 999 copies, numbered and signed. Size 30 x 42 x 11 cm (W/H/D). Weight 2.2 kg.

Ernst Fuchs merges two mythical creatures in the shape of horses: the unicorn and the winged horse Pegasus. In heraldry in particular, the unicorn is usually depicted 'leaping' upright. Fox now raises it fully into the air as Pegasus. The celestial Pegasus is also regarded as a source of inspiration, as he gives rise to Hippucrene, the source of the muses, the so-called horse spring, by striking his hoof on the mountain. In fact, both Pegasus and the unicorn have already arrived in the sky as constellations, with Pegasus bordering on the constellation of the swan: If you look at the horn on the forehead of Ernst Fuchs' sculpture, you will notice that it is not straight, but curved like a swan's neck. 'The constant companion of my art, the unicorn, is also the author of all transformations. The unicorn is the heraldic symbol of my endeavours to create the total work of art. Now it has risen to become Pegasus. But the two myths have united in my work, even the horn has become recognisable in its resemblance to Lohengrin's swan as a sign of his arrival from the Grail. My unicorn Pegasus is the symbol of a new dimension of my art and its synthesis in the Gesamtkunstwerk. Sincerely dedicated to the friends of my art and especially to you. (Ernst Fuchs) Edition in bronze, cast using the lost wax technique, chiselled and patinated by hand. Limited to 300 numbered and signed copies. Size 39 x 19 x 29 cm (H/W/D). Weight 9.38 kg.

Born in Vienna, Ernst Fuchs (1930-2015) was one of the co-founders of the Vienna School of Fantastic Realism. His work had a decisive influence on the understanding of 20th century art. Whether it is called the Sphinx or the Sphinx depends on the culture. In Egypt, it was male, with a human head and lion's body it was a symbol of power and lined the way to the temples as a guardian figure. The most famous such sphinx sculpture of all is also one of the oldest: the head depicts the pharaoh Chefren (2540-2515 BC). It was not until the Greeks that the sphinx became a female figure. It was left to the art of symbolism to bring the figure of the sphinx back to life, so to speak. It turned her into a figure of the mysterious Eros. Ernst Fuchs also stands in this tradition with his 'Sphinx with Gold Helmet'. At the same time, he endows his motif, here as in many of his other works, not only from mythological but also from mythical sources, with clearly fantastic features. Fuchs' sphinx thus symbolises the enigma of the world and life par excellence. Sculpture in fine bronze, cast using the lost wax technique, chiselled, polished and patinated by hand. With gilded helmet. Mounted on a black granite plinth. Limited to 1,999 numbered and signed copies. Size 12 x 11 x 7 cm (h/w/d). Weight 1 kg.

In this masterpiece, Ernst Fuchs takes up an ancient mythological theme: The conflict between the flying griffin and the earth-bound serpent. The combination of lion's body, eagle's head and wings symbolises the control of air and earth. Due to its keen eyesight, it was said to have clairvoyant abilities and was regarded as the sacred animal of Apollo and the guardian of gold. Since the Middle Ages, the griffin has been one of the most important heraldic figures: it can be found in the coats of arms of many countries and cities, e.g. Baden-Württemberg, Mecklenburg-Vorpommern, Düsseldorf, Greifswald or Rostock - and of course in the coats of arms of old aristocratic families. By designing his sculptural group as a candlestick object, Ernst Fuchs is also harking back to the table culture of the 18th and 19th centuries.ars mundi exclusive edition in fine bronze. Cast by hand using the lost wax technique. Patinated and polished by hand. Limited edition of 499 pieces, numbered and signed. Size 35 x 31 x 13.5 cm (W/H/D). Weight 9 kg. Can also be used as a light object.

A classical nude in a classical pose, which, following an artistic self-statement by Schinzel, like his entire life's work 'joyfully and with delightful enthusiasm embraces life and creation in its beauty in the miracle of man'. Sculpture in bronze, cast using the lost wax technique, patinated and polished. Moulded directly from the original. Limited edition of 199 copies, numbered and with the signature and foundry mark taken from the original. With numbered certificate of authenticity and limitation certificate. Size 31 x 15 x 17.5 cm (h/w/d). Weight 4.75 kg.

His sculptures have one main theme: man, and this in his undisguised beauty. In them, beauty comes into its own without interruption, and in a sense it is also the eye of the beholder that is celebrated here. Sculpture 'Bath Sketch': 'In all carelessness', comments the artist, 'the girl settles down after the bath and turns unselfconsciously to her body, in which she feels the pulsating freshness that the bath gave her - she soothingly enjoys drying off and is simply happy'. Sculpture in fine bronze, cast using the lost wax technique, patinated and polished by hand. Limited edition of 199 pieces, numbered and signed by Prof. Schinzel. Includes hand-numbered certificate. Size 18 x 27 x 18 cm. Weight 3.5 kg. ars mundi exclusive edition.

Sculpture in fine bronze, cast using the lost wax technique, patinated and polished by hand. Limited edition of 199 pieces, numbered and signed by Prof. Schinzel. Includes hand-numbered certificate. Size 8 x 24 x 10 cm (h/w/d). Weight 1.7 kg. ars mundi exclusive edition.

Sculpture in bronze, cast using the lost wax technique, patinated and polished. Moulded directly from the original. Limited edition of 199 pieces, numbered and with the signature of Prof. Schinzel taken from the original as well as the foundry mark. Includes hand-numbered certificate. Size 18.5 x 12 x 24 cm (H/W/D), weight 2.65 kg. ars mundi exclusive edition.

'In der Dämmerung' shows - a hallmark of Schinzel's work in general - the extent to which the artist places his masterful craftsmanship at the service of a classical ideal of beauty. Sculpture in fine bronze, cast using the lost wax technique, chiselled, polished and patinated by hand. Limited edition of 199 pieces, numbered and signed by Prof. Schinzel. Includes hand-numbered certificate. Size 29 x 32 x 20 cm (h/w/d). Weight 7.4 kg. ars mundi exclusive edition.

The kestrel - Bird of the Year 2007 - could be seen as a kind of link between animal nature and human civilisation. It is the most common falcon in Central Europe and probably also the best known, as it likes to nest in human settlements, hence the name kestrel, cathedral falcon or church falcon. Schinzel shows the powerful bird of prey looking around attentively - and perhaps also observing the curious human activity around it. Sculpture in bronze, cast using the lost wax technique, patinated and polished. Moulded directly from the original. Limited edition of 199 pieces, numbered and with the signature of Prof. Schinzel taken from the original as well as the foundry mark. Includes hand-numbered certificate. Size 38 x 20 x 15 cm (h/w/d). Weight 6.7 kg. ars mundi exclusive edition.

For the 100th birthday of Erwin A. Schinzel: Sculpture 'Wellenrauschen' available in two versions. On 24 October 2019, Erwin A. Schinzel would have been 100 years old. Throughout his life, Schinzel was a 'classic' among sculptors. An artist who created works that are entirely in the tradition of their art, openly and unabashedly inheriting the greats in their field and yet still managing to appear contemporary. His works display a mastery of craftsmanship in which accuracy and perfection of representation are the highest standards of sculpture, and his sculptures have one theme above all: man, and this in his undisguised beauty. In them, beauty comes into its own without interruption, and in a sense it is also the eye of the beholder that is celebrated here.sculpture 'Wellenrauschen': She has just emerged from the waves and, her hair pinned up with an artfully tied hairband, is letting the power of the sun dry her skin. With her eyes closed, she listens to the sea. Schinzel's work thus appeals to the viewer's senses in two ways: The visible and the audible are equally present. Sculpture in fine bronze, cast using the lost wax technique, patinated and polished by hand. Limited edition of 179 pieces, 20 of which in bronze with gold-plated hairband (offered here), numbered and signed by Prof. Schinzel. Including hand-numbered certificate. Size 27.5 x 25 x 20.5 cm (h/w/d). Weight approx. 5.85 kg. ars mundi exclusive edition.

For the 100th birthday of Erwin A. Schinzel: Sculpture 'Wellenrauschen' available in two versions. On 24 October 2019, Erwin A. Schinzel would have been 100 years old. Throughout his life, Schinzel was a 'classic' among sculptors. An artist who created works that are entirely in the tradition of their art, openly and unabashedly inheriting the greats in their field and yet still managing to appear contemporary. His works display a mastery of craftsmanship in which accuracy and perfection of representation are the highest standards of sculpture, and his sculptures have one theme above all: man, and this in his undisguised beauty. In them, beauty comes into its own without interruption, and in a sense it is also the eye of the beholder that is celebrated here.sculpture 'Wellenrauschen': She has just emerged from the waves and, her hair pinned up with an artfully tied hairband, is letting the power of the sun dry her skin. With her eyes closed, she listens to the sea. Schinzel's work thus appeals to the viewer's senses in two ways: The visible and the audible are equally present. Sculpture in fine bronze, cast using the lost wax technique, patinated and polished by hand. Limited total edition of 179 pieces, 159 of which in bronze (offered here) and 20 in bronze with gold-plated hairband, numbered and signed by Prof. Schinzel. Including hand-numbered certificate. Size 27.5 x 25 x 20.5 cm (h/w/d). Weight approx. 5.85 kg. ars mundi exclusive edition.

A love piece in art history: Falconet's Amor.L'Amour menaçant, the 'threatening Cupid' from 1757, not only marked Falconet's artistic breakthrough, but also his professional one. The finger of Cupid pointing to the closed lips promises secrecy. And yet, smiling mischievously to himself, he seems to be aware of his power over every human destiny. Original: Musée du Louvre, Paris. Marble. ars mundi museum replica, cast stone, moulded by hand. Size 50 x 92 x 65 cm (W/H/D). Weight approx. 110 kg.

A labour of love in art history: Falconet's Cupid Falconet presented a plaster model of his Cupid as early as 1755 and was met with enthusiasm by the critics of his time. Two years later, he was presented as a marble statue together with his equally famous work 'La Beigneuse'. The finger of Cupid pointing to the closed lips promises secrecy. And yet, smiling mischievously into himself, he seems to be aware of his power over every human destiny. Original: Musée du Louvre, Paris. Marble. ars mundi museum replica, cast stone, moulded by hand. Size 12 x 24 x 13.5 cm (w/h/d), weight 2.5 kg.