Together with the Nolde Foundation Seebüll, we were able to realise the work 'Prophet' by Emil Nolde, the bronze edition of a wood carving in original size.'Emil Nolde began his artistic development as a trained wood sculptor and furniture carver. During his trip to the South Seas in 1913/14, he took up the carving technique again and created a small series of sculptures whose elegance shows his familiar handling of wood. In 1921 Max Sauerlandt characterised the sculptures: they are 'all of wood-like unity of body and sparing movement. Under the stimulus of the noble material, the carving lust of the first years of learning has suddenly awakened once again in a new form. Nolde's 'Prophet', also initially called Priest, belongs thematically to the works dedicated to religious and biblical themes. These play a special role in Emil Nolde's oeuvre, they are among the highlights of his life's work and are still considered masterpieces today. In his depictions, Nolde does not follow the Bible to the letter, but rather describes an experience that he describes as being born deep within him, secure and 'inwardly glowing'. 'I had to be artistically free, not have God before me like a steel-hard Assyrian ruler, but God within me, hot and holy like the love of Christ.'I am very pleased that with the excellent quality reproduction of the sculpture 'Prophet', another facet of Nolde's sculptures is becoming known to a select public. (Dr Christian Ring, Director of the Nolde Foundation in Seebüll)Sculpture in fine bronze, cast by hand using the lost wax technique, chiselled and patinated. Moulded directly from the original and reproduced in the original size. Limited edition of 980 pieces, individually numbered. The base (made of bronze) bears Nolde's signature and the foundry mark. ars mundi exclusive edition, published in collaboration with the Nolde Foundation Seebüll. With numbered certificate of authenticity and limited edition. Format 30 x 6 x 5 cm (H/W/D). Weight approx. 1 kg. © 2024 Nolde Foundation Seebüll

It was the adventure of a lifetime when Emil and Ada Nolde travelled to the South Seas on a scientific research expedition from 1913 to 1914. Nolde was fascinated by the seemingly paradisiacal landscape, but above all by the locals he met there. He produced numerous paintings, sketches and drawings - as well as several sculptures. The South Seas theme was to occupy Nolde for a long time after his return. 'It is largely unknown that Emil Nolde began his artistic development as a trained wood sculptor and furniture carver. He was therefore deeply familiar with working with wood when he took up the carving technique again during his trip to the South Seas in 1913/14. While still on the trip, he created a small series of sculptures, all of which can be found in his estate at the Seebüll Ada and Emil Nolde Foundation. In his choice of motifs, he concentrated on one of the central themes that characterise his art, namely people. He was interested in reproducing the underlying character and traits of the people depicted. It therefore gives me great pleasure that this sculpture, reproduced in excellent quality, brings another facet of Nolde's work to the attention of a select public. (Dr Christian Ring, Director of the Nolde Foundation in Seebüll) Sculpture in fine bronze, cast by hand using the lost wax technique, chiselled and patinated. Moulded directly from the original and reproduced in the original size. Limited edition of 980 pieces, individually numbered. The base (made of bronze) bears Nolde's signature and the foundry mark. ars mundi exclusive edition, published in collaboration with the Nolde Foundation Seebüll. With numbered certificate of authenticity and limitation. Format 27.5 x 5.5 x 3 cm (H/W/D). Weight 1 kg.

A court sculptor in the Hadrianic tradition wrested this strikingly handsome portrait of a young man from the marble. With its luxurious curls and soft upturned lips, it presents us with the very individual personality of the young Marcus Aurelius. Original: The Norbert Schimmel Collection, New York. Hadrianic, marble. Ca. 140 - 170 A.D. Polymer ars mundi museum replica moulded by hand, height with base 44 cm.

Rome's vocation was to absorb the legacy of foreign civilisations and imbue it with its own essence. This epiphany head with its even features, the knotted bandage at the nape of the neck, perhaps once decorated with silver inlays, and, as the traces testify, originally gilded lips, is an almost classical example of this: not an epigonal copy of a Greek model, but the artefact of an epoch that quite consciously revered the strict Attic harmony. Original: Staatliche Antikensammlungen und Glyptothek, Munich. Roman, from around the birth of Christ, based on a model from the 4th century BC.Bronze, with fine patina, cast using the lost wax technique. Height with base 33 cm.

This epiphany head with its even features and the victor's bandage knotted at the neck, perhaps once decorated with silver inlays, is an almost classic example of Rome's adaptation of foreign advanced civilisations. Original: Staatliche Antikensammlungen und Glyptothek, Munich. Roman, around the birth of Christ after a model from the 4th century BC. Polymer ars mundi museum replica, cast by hand with bronzed surface. Height with base 33 cm.

With orb, sword and crown of lilies, the universal monarch, who has already become a symbolic ruler, appears here. The original of this world-famous bronze sculpture is one of the most precious treasures of world art. Original: Musée du Louvre, Paris. 9th century, from the treasury of Metz Cathedral. Finely patinated cast bronze with traces of genuine gilding. Size incl. base 26.5 x 17 x 9 cm (h/w/d).

Emperor Charlemagne united almost the whole of Europe, initiated numerous important political reforms and helped Christianity achieve its final breakthrough in Europe. This equestrian statuette is one of the most precious treasures of world art and shows Charlemagne with orb, sword and crown of lilies. The original dates from the 9th century and belongs to the cathedral treasury of Metz Cathedral. Today the figure is a national monument in the Louvre, Paris. Elaborate, finely patinated and hand-polished metal casting. Height with base approx. 28 cm, length 18 cm, width 9 cm.

The ear close to the heart: Perathoner's sculpture is an invitation to perceive silence with mindfulness. In it we can find ourselves again and come to ourselves. Sculpture made of lime wood wrapped in plaster bandages and coloured with acrylic paint. Signed. Height 62 cm. Weight 2 kg.

Touch is a meaningful and recurring theme in the works of the sculptor Perathoner. Here - in the form of the hand touching the shoulder - it symbolises the connection between two souls and the longing to experience support and security. Sculpture made of Swiss stone pine wood wrapped in plaster bandages and coloured with acrylic paint. With iron base. Signed. Height of figure 124 cm. Height of plinth 60 cm. Total height 184 cm. Weight 21 kg.

The head bent slightly downwards, resting and introspective: in his sculpture 'Ruhende', Perathoner emphasises the view into the innermost being through a reduction in form. Sculpture made of Swiss stone pine wood wrapped in plaster bandages and coloured with acrylic paint. Includes iron base. Signed. Height of figure 124 cm. Height of plinth 60 cm. Total height 184 cm. Weight 21 kg.

Perathoner's figure appears to be wrapped in a protective blanket of larch needles, close to the ground. Sculpture made of lime wood partially covered with larch needles. Includes lime wood base. Height of figure 123 cm. Height of plinth 60 cm. Total height 183 cm. Weight 21 kg.

Touching hands, which seem to appear out of nowhere in Perathoner's wall relief, are an expression of loving care and an inner longing for security. Sculpture made of Swiss stone pine covered with larch needles. Signed. Size 55 x 83 cm (H/W). Weight 3 kg.

Ernst Barlach and the work of thought Barlach's 'Sinnender' was created in 1934, which was also a year of great upheaval and important decisions for him. Although Barlach initially demonstrated his willingness to subordinate himself to the Nazi art system by signing the 'Aufruf der Kulturschaffenden' ('Call of the Creative Artists'), the criticism of him from these very circles, which had been voiced loudly for some time, grew to such an extent that his first works were removed from public view. His 'Wanderer in the Wind' - also from 1934 - is interpreted today as the work with which he finally took a stand against the regime. In this respect, his 'Sinnender' also symbolises an agonising process: a young man who can see the effort of thinking because he is being asked to make a momentous decision. Sculpture 'The Contemplative II': Fingertips placed against the cheek and deeply absorbed in thought: Barlach's 'Contemplative' shows thinking as highly concentrated labour. Moulded by hand using the lost wax technique and patinated. 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 8 x 34.5 x 5.5 cm (W/H/D). Weight 2.5 kg. 'For me, 'Der Sinnende' embodies the stillness of great wisdom in its pose. The slightly bulging round shape of the body is only emphasised by four long folds. The left hand, raised to the chin, appears as an actively raised gesture of contemplation and introspection, while the right hand is rather inactively withdrawn into the shell of the cloak. Fragile and sensitive, 'the contemplative' appears as the contemplative existence par excellence. He seems to be a person who is dependent on external, perhaps higher help. He does not judge, he does not pass judgement, he simply bears witness to his existence. Spirituality and religious aura permeate his entire appearance. (Dr Jürgen Doppelstein, Ernst Barlach Society)

'Ernst Barlach's sculpture marks the beginning of a decisive change of style in his work, which the artist continuously refined and maintained until his death in 1938. It is also an important contemporary document of the decline of the ruling systems. After a brief deployment as a soldier in 1915/16, Barlach was traumatised and oriented towards religious searching. Themes of war and battle circulate and ferment in his consciousness. His expressive figures, however, became more and more self-contained on the outside. Everything ornamental and decorative is stripped away. The sculptural accents are limited to the bare essentials. The sometimes lively lines of the garment, as in the 'Stroller' of 1912, are used to emphasise an inner feeling, also in the depiction of the face and hands. The sculpture becomes an expression of consciousness, a convincing power and strength. The freezing girl is an outstanding example of the new emphatic style. The figure grows upwards from the almost square plinth, motionless like a column, in sculptural rhythms. Beneath the warming cloak of heavy fabric, the hands clasp the face to the cheeks. Holding it like a jewel. The face mask shows mouth, nose, eyes and brows, but appears closed, listening inwards. It seems as if she can hear the tremors in the machinery of humanity on earth behind closed eyes. The shock makes her freeze. Her heart goes cold when she thinks of the millions of people that war and revolution have devoured and will devour. You can fight the sub-zero temperatures with heating, exercise and thick clothes if you have them. It is difficult to find a remedy for the cold heart that is frozen by war, loneliness and ignorance. The girl's posture in Barlach's work emphasises pausing, contemplation, contemplation, and here the artist is completely with the people, with their joys but also with their pain, with their fear. In his artistic work, Barlach fulfils his human mission to give strength and comfort through the vivid density and presence of his works. His entire oeuvre is clarity and encouragement. In every work, it provides the decisive moment of pause and self-recognition. (Dr Friedhelm Häring, former museum director and curator) Sculpture in fine bronze, cast using the lost wax technique, chiselled, polished and patinated by hand. Moulded from the original and reduced in size (reduction). Limited edition of 980 copies, numbered and with the signature 'E. Barlach' as well as the foundry and ars mundi hallmark. With numbered certificate of authenticity and limitation certificate. Size approx. 32.5 x 9 x 8 cm (h/w/d). Weight approx. 3.1 kg. ars mundi exclusive edition.

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 on a stone base. Detail casting of the 'Schwebender' (WVZ 244, 1927), first executed in 1930 (WVZ 426). Mounted on a stone plinth. Size with plinth 22.5 x 28 x 19 cm (W/H/D), weight 5.75 kg.

The mysticism of love: Ernst Barlach's 'Kussgruppe I'. ars mundi exclusive edition, published in collaboration with the Kunsthalle Bremen The work of Ernst Barlach (1870-1938) is characterised by profound humanity. His depictions of ordinary people avoid the idealisation of the external and at the same time insist on an ideal of humanity that is diametrically opposed to the historical course of the artist's life. His praying, musical, searching figures seem to be imbued with a spiritual force that makes them part of an overarching, mystical whole. This also applies to Barlach's Kiss, which was certainly also created in 1921 in dialogue with Auguste Rodin's work of the same name. Unlike Rodin's work, the sculptural group does not emphasise the element of Eros, but depicts the lovers in an affection that goes far beyond this. The intimacy with which they are turned towards each other seems to be characterised by a long shared life experience and unbreakable trust. Even in its monolithic structure, the work shows a 'two-ness' of the couple that reveals love not as a fleeting erotic phenomenon, but as an almost mystical fundamental human experience - not Venus and Adonis, but Philemon and Baucis were the inspiration here.sculpture 'Kussgruppe I': Original: painted plaster. Sculpture in fine bronze, cast using the lost wax technique, chiselled, polished and patinated by hand. Moulded directly from the original. Limited edition of 980 pieces, individually numbered and with the signature 'E. Barlach' and the foundry mark. Published in co-operation with the Kunsthalle Bremen. With numbered certificate of authenticity and limitation. Size 19.5 x 19 x 10 cm (h/w/d). Weight 3.2 kg. ars mundi exclusive edition. 'Some of the most famous works of modern art are dedicated to the kiss - Gustav Klimt's and Auguste Rodin's depictions are the most prominent examples. Ernst Barlach also explored this theme. At the centre of his work is the human being and the entire range of his emotions. The Bremen kissing group presents an unusually intimate view of a couple showing affection, which is further emphasised by the format and the medium.' (Prof. Dr Christoph Grunenberg, Director of the Kunsthalle Bremen)

Barlach, one of the main representatives of German Expressionism, is famous for his wood and bronze sculptures. The theme of reading monks had already preoccupied him in 1921. In the bronze work from 1932, of which there was a wooden version, he emphasises the expressive power of the linear folds of the robes through reduction and welds the block of seated figures together. He was inspired by the art of 14th century Florence, as well as the sculptures and paintings of the master Bertram (1345-1415), who in the altar of 1379 in the Hamburger Kunsthalle displays a primal, vivid narrative gift. Barlach's avant-garde vision sought to recapture this fundamental power. The wooden version was ridiculed by the National Socialists in 1937 in Munich in the exhibition 'Degenerate Art'. Barlach's work survived, recognised worldwide and represented in the most important collections. Sculpture 'Reading Monks III': Driven by humanity and social commitment, Barlach's creative power leads to concentration and internalisation. The joint-like treatment of his surfaces, in conjunction with the folded curves, is like breathing in and out, a vital cohesion. The circle that opens up in the sculpture from the head of the left monk over the shoulder and arm to the open book is continued to the arm of the right monk and closes in the shoulder and head tilt. The communication between the individuals and the book lives in this circle. They have read and understood. In the admonishing silence outside the fleeting process of life, they have come to rest. We recognise the fine nuances of designed balance in the folded hands of the monk on the right, which hover like a symbol in front of two folds of the bowl. Barlach's work becomes the mouth of truth. 'I recommend this work as an important contemporary document before which we can become reverent. Its great potential today is to show a way away from the fashionable and trivial sensations of everyday life to the essence of being human: Asking questions, recognising, drawing conclusions for self-discovery. The reading monks III provide an example. They illustrate the appeal and comfort that comes from books. Joy and depth in understanding the world can emerge from a poem as they do from this sculpture. In his forms, Barlach gives us a part of the endless context of creation, the prerequisites for approaching the meaning of life. That is the religious aspect of his art, love. (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 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 22 x 16.5 x 14 cm (h/w/d), weight 4.2 kg.

Bronze after a cast from 1932, which was shown publicly for the first time at the 'Living German Art' exhibition in Berlin in 1933. The trip to Russia in 1906 had released new, form-conscious energies in Barlach, which strongly characterised his further artistic work. With the Russian beggar sculptures, he thus laid the foundation for his further sculptural work. The 'Russian Beggar II' is a highly expressive, meditative figure. The form is framed by the broadly curved outline of the back, which opens up solely through the outstretched hand. In this way, the head, bowed in humility or shame, is connected with the hand outstretched in supplication and becomes an expression of a process that is both spiritual and physical. This hand does not formulate a demand, but a need and request for material and spiritual nourishment. Barlach describes the meaning of his beggar figures as 'symbols of the human situation in its nakedness between heaven and earth'. Sculpture in fine bronze, cast by hand using the lost wax technique and patinated. Directly 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. ars mundi exclusive edition. With numbered certificate of authenticity and limitation certificate. Format 14.5 x 26 x 11.5 cm (h/w/d). Weight 3.4 kg.

'When Ernst Barlach created his figure 'Teaching Christ' in 1931, he addressed one of the main themes of Western art history by depicting the Saviour. Barlach depicts the Son of God as a man among men. The 'Teaching Christ' wears a simple robe; he is not enthroned, but sits in a relaxed, open posture and radiates empathy and affection. The design and structure of the sculpture aim to ensure that the viewer literally encounters Christ and his love for mankind at eye level. The 'Teaching Christ' was not cast in bronze for the first time until 1938, seven years after it was created. And it was only after the Second World War that a total of 14 large figures cast from the original found their way into churches - in Güstrow, in Rostock, in Hamburg in the Christuskirche, but also in the Stedelijk in Eindhoven and in the Israel Museum in Jerusalem. (Dr Friedhelm Häring, former museum director and curator) Sculpture in fine bronze, cast using the lost wax technique, chiselled, polished and patinated by hand. Moulded from the original and reduced in size (reduction). Limited edition of 980 copies, numbered and with the signature 'E. Barlach' as well as the foundry and ars mundi hallmark. With numbered certificate of authenticity and limitation certificate. Size 28 x 13 x 10.5 cm (h/w/d). Weight approx. 2.9 kg. ars mundi exclusive edition.

Ernst Barlach's book reader - a milestone of modernismThe motif of the reader is a key motif in Barlach's work, which he already thematised in the lithograph 'Wem Zeit wie Ewigkeit und Ewigkeit wie Zeit, der ist befreit von allem Leid' from 1916 and in a charcoal drawing from 1922. The motif was given particular density in the spring of 1936 in the sculpture 'The Book Reader'. 'The Book Reader' is completely immersed in his reading, radiating concentration and meditative harmony. He lives in his world: 'His back, resembling a spherical shell, acts like a shield to keep out distractions, protecting the intimacy and solitude of the reader, the prerequisites for all intellectual endeavour'. Enthusiastic about Ernst Barlach's masterful depiction of the reading man, Bertolt Brecht described the work: 'A seated man, bent forward, holding a book in his heavy hands. He reads curiously, confidently, critically. He is clearly looking for solutions to urgent problems in the book (...) I like 'The Book Reader' better than Rodin's famous 'Thinker', which only shows the difficulty of thinking. Barlach's sculpture is more realistic, more concrete...' 'The Book Reader' is one of Ernst Barlach's best-known and most important works. Original casts in bronze can be found in the Neue Nationalgalerie in Berlin, the Staatliches Museum Schwerin and the Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf, among others. The 150th birthday of the artist in 2020 was a special occasion for us to publish an anniversary edition of the 'Book Reader' in this impressive format, in an exclusive edition of 150 copies. Sculpture in fine bronze, cast using the lost wax technique, chiselled, polished and patinated by hand. Taken directly from the original and reduced in size. Limited edition of 150 copies, numbered and with the signature 'E. Barlach' as well as the foundry and ars mundi hallmark. With numbered certificate of authenticity and limitation certificate. Size approx. 41 x 19 x 29 cm (h/w/d). Weight approx. 14.4 kg. ars mundi exclusive edition.

Barlach's 'Zweifler' was created in 1931, when the ostracisation was already looming. Barlach was repeatedly and harshly attacked by National Socialist circles. The figure of the man who has sunk to his knees, begging for help, is that of a man in distress and perhaps also expresses Barlach's doubts about the humanistic power of his art. However, it has its timeless validity as an impressive depiction of doubt, uncertainty and probably also despair as a human condition.sculpture in fine bronze, cast by hand using the lost wax technique and patinated. 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 17 x 31 x 11.5 cm (W/H/D), weight 2.3 kg.

Barlach has this boy with a flat-fitting hat and knee-length cloak sitting on a round stone, playing the flute devotedly and completely absorbed in his playing, his eyes closed, completely at one with his instrument. In this way, the spiritual, the musical and the earthy weight of the stone flow together in the pictorial work. In the flow of lines and gliding surfaces, this work is the realisation of a flute melody in sculptural form. Sculpture in fine bronze, cast by hand using the lost wax technique and patinated. 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. Format 19 x 28 x 11 cm (W/H/D). Weight approx. 3.6 kg.

Ernst Barlach's masterpiece There is no doubt that Ernst Barlach was one of the most outstanding personalities of Expressionism and one of the most important artists from Germany. He always placed people at the centre of his artistic work, as in his 'Krautpflückerin', a simple woman working in the fields, bending down to pick meadow plants. This sculpture, created in 1894, was Barlach's masterpiece: it was part of the final examination of his studies at the Dresden Academy of Art in 1895; at the same time, he exhibited it as his first work at the Great Berlin Art Exhibition in 1898. Sculpture 'Die Krautpflückerin': Original: coloured plaster. Fine bronze, cast by hand using the lost wax technique and patinated. Directly 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. ars mundi exclusive edition, published in collaboration with the Ernst Barlach Gesellschaft. With numbered certificate of authenticity and limitation. Format 21 x 22.5 x 14 cm (W/H/D), weight 2.5 kg. 'I am always fascinated by Ernst Barlach's 'Krautpflückerin'. With this work, the sculptor took a new look at people's everyday lives and thus not only gave sculpture in Germany a new impetus, but also a new meaning. With this work, he began to bring the common people, the so-called people of the street, back into the real visual field of vision of art. (Dr Jürgen Doppelstein, Chairman of the Ernst Barlach Society)

'The Reunion' is one of the epoch-making works of modern sculpture: the profound humanity that characterises Barlach's work goes beyond the biblical scene depicted here. Incidentally, it has to do with an eyewitness: Thomas - in Aramaic his name could be translated as 'twin' - encounters Christ, in whose resurrection, according to the biblical account, he only wanted to believe when he could see him with his own eyes and put his fingers in his wound. Barlach stages the second of recognition and shows the moment of realisation and of rising up to the truth. He has thus created more than a Christian iconography. God incarnate is the 'twin' of man, his compassion is fraternal. And in this realisation of the humanity of the Son of God lies both hope and a task - the demand for humanity. This limited edition was created in close co-operation with the Ernst Barlach Society. Sculpture moulded directly from the original and reduced in size (reduction). Fine bronze, cast by hand using the lost wax technique. Size 14 x 33 x 8.5 cm (W/H/D). Weight approx. 3 kg. 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.