Arthur Waagen

ARTHUR WAAGEN GERMAN, 1833-1898 measurements height 35 3/4 in. alternate measurements 91 cm signed Waagen sculp and inscribed G. Martin / Fondeur. bronze, brown patina CATALOGUE NOTE Waagen was a sculptor of German-Baltic extraction who settled permanently in Paris and exhibited at the Salon between 1861 and 1887. His models show a fascination with Orientalist themes, and the most successful of these was the Kabyle au Retour de la Chasse.

signed Waagen Scul. bronze, light brown patina CATALOGUE NOTE Waagen was a sculptor of German-Baltic extraction who settled permanently in Paris and exhibited at the Salon between 1861 and 1887. His models show a fascination with Orientalist themes and the most successful of these was the Kabyle au Retour de la Chasse. Another cast of this model is in the Dahesh Museum, New York.

Item No. 867024 : Arthur Waagen, German, 1869-1910, 'ANorth African Musician', C. 1880 L1SU2 Description Arthur Waagen, German, 1869-1910, 'A North African Musician', C.1880, Cold Painted Spelter Figure, signed on base 'Waagen'(TSC300) Measurements 21 5/8" H x 15" W x 8 1/2" D Condition Paint loss.

signed: waagen sculp with title plaque kabyle au retour de la chasse / par waagen (sculptr) bronze, tri-tone dark and mid brown and red patina, on shaped varnished wood plinth (2) catalogue note waagen was a sculptor of german-baltic extraction who settled permanently in paris and exhibited at the salon between 1861 and 1887. his models show a fascination with orientalist themes and the most successful of these was the kabyle au retour de la chasse. the present bronze is an excellent cast of the largest size and was probably made by the foundry of emile martin, who had previously worked with barye. another cast of this model is in the dahesh museum, new york.

signed: waagen. sculp and inscribed born in the baltic port of memel, east prussia (now klaipeda, lithuania), max arthur waagen was one of many german artists of baltic extraction who left their homes to pursue careers in one of the major cultural centres of europe, such as st.petersburg, berlin and paris. to this group one might add the sculptors karl-hans bernewitz, alexander von bock and august ludwig weizenberg. waagen chose to move to paris, where he appears to have permanently settled, for his extant works bear exclusively french names and were cast there. for example, the present work is a cast by emile martin's foundry, the entrepreneur who was barye's partner and founder between 1839-1857. the born in the baltic port of memel, east prussia (now klaipeda, lithuania), max arthur waagen was one of many german artists of baltic extraction who left their homes to pursue careers in one of the major cultural centres of europe, such as st.petersburg, berlin and paris. to this group one might add the sculptors karl-hans bernewitz, alexander von bock and august ludwig weizenberg. waagen chose to move to paris, where he appears to have permanently settled, for his extant works bear exclusively french names and were cast there. for example, the present work is a cast by emile martin's foundry, the entrepreneur who was barye's partner and founder between 1839-1857. the livrets de salon reveal that he exhibited there between 1861 and 1887 and that his studio was located at cours-de-vincennes, 40 and later avenue chevalier, 11. from what we know of waagen's work, he was chiefly concerned with the fashion for the oriental: the french fascination with north african culture that began with napoleon's conquest of egypt and continued with french colonial expansion into algeria, morocco and tunisia until the end of the century. the most prominent and successful of the compositions he executed on this theme was the present kabyle au retour de la chasse. this noble and romantic depiction of a berber tribesman from the mountain regions of north africa, shows the subject returning to the village with his dogs and a rescued lamb, while in his outstretched hand he holds up the predator's hide. the size and quality of the present cast, with its polychromy intact, is the best example to have appeared at market and suggests it may well have been the sculptor's original salon exhibition piece. however, without documentary evidence, this cannot be proven. related literature: payne, p.284-5, 423, pl.13; berman, vol.4, p.1180, no.4743; mackay p.388; kjellberg p.647