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Fritz von Graevenitz, Rams

Fritz von Graevenitz, Rams Fritz von Graevenitz, Rams Fritz von Graevenitz, Rams

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EXPECTED SOON - RECORD UNDER CONSTRUCTION







'Widder' ('Rams')
Bronze bookends.
Another cast is in the possession of the Museum Fritz von Graevenitz.
Each bookend weights 4,2 kg.


- condition : II               
- size : height 17,5 cm, length 13,5 cm. Each bookend weights 4,2 kg
- signed : signed 'F.v.G.'
- type : bronze                                   
- misc. I : with foundry mark 'Brandstetter München'





Fritz von Graevenitz, 'Der Jüngling' ('Young Man'). Displayed at the exhibition 'Reichsausstellung junger Kunst' in Salzburg, 1942. Bought by the Reichsuniversität Posen (nowadays Poznan in Poland) and placed in the main building of the University. Depicted in ‘Die Bewegung‘, 3 April 1943.


Left: Fritz von Graevenitz, 'Jüngling', displayed at the GDK 1940 room 2. Sold for 12.000 Reichsmark. Depicted in 'Die Kunst im Deutschen Reich', 1940.
Right: a cast of 'Jüngling' by Von Graevenitz, 1955. Located in the Landwirtschaftl. Hochschule, Hohenheim. Depcted in 'Fritz von Graevenitz, Plastik, Malerei, Graphik’, 1957.
    



‘Die wacht am Rhein‘

‘Die Wacht am Rhein’ is a German patriotic anthem. The song's origins are rooted in the historical French–German enmity, and it was particularly popular in Germany during the Franco-Prussian War and the First World War. The original poem was written by Max Schneckenburger in 1840.
Repeated French efforts to annex the Left Bank of the Rhine started with the devastating wars of King Louis XIV. French forces were carrying out massive scorched earth campaigns in the German south-west. These politics were fully implemented during the Napoleonic Wars and the creation of the Confederation of the Rhine in 1806–1813. In the two centuries from the Thirty Years' War to the final defeat of Napoleon, the German inhabitants of lands by the Rhine suffered from repeated French invasions. The demise of Napoleon gave the Germans some respite, but during the Rhine Crisis of 1840, French prime minister Adolphe Thiers advanced the claim that the Upper and Middle Rhine River should serve as his country's ‘natural eastern border’. The member states of the German Confederation feared that France was resuming these designs.
In the poem, with five original stanzas, a ‘thunderous call’ is made for all Germans to rush and defend the German Rhine, to ensure that "no enemy sets his foot on the shore of the Rhine" (4th stanza). ‘Die Wacht am Rhein’ called for Germans to unite, to put aside sectionalism, sectarianism, and the rivalries of the various German kingdoms and principalities, to establish a unified German state and defend Germany's territorial integrity.

Fritz von Graevenitz, ‘Die Wacht am Rhein‘ (‘The Watch on the Rhine‘), also known as ‘Schneckenburger Memorial‘. Revealed in 1937. Located in the city of Tuttlingen.




Fritz von Graevenitz, ‘Vier Evangelistensymbole‘. ‘Four symbols of the Evangelists‘ at the tower of the Stiftskirche in Tübingen, created in Muschelkalk, 1932/33. The sculptures are up to 1,9 meter length. The church is a late gothic structure built by Peter von Koblenz in 1470. 
In Christian tradition, the Four Evangelists are Matthew, Mark, Luke, and John. They are traditional symbolized respectively as Angel, Lion, Bull and Eagle.
Depicted in ‘Baugilde’, 1935, Heft 10, and in ‘Fritz von Graevenitz, Werden und Werk‘, 1939.
 

‘Löwe’ (‘Lion’). Also depicted in 'Die Kunstkammer', January 1935.


‘Adler’ (‘Eagle). Length 1,90 meter.


‘Stier’ (‘Bull’).


‘Kopf des Engels‘ (‘Head of Angel‘).



Fritz von Graevenitz, ‘Jungfrau’ (‘Virgin’). GDK 1943 room 21. Created in zinc. Bought for 12.000 Reichsmark by Kunsthalle Mülhausen (Elsass).
Left: a bronze cast of ‘Jungfrau’ by Von Graevenitz, 1943, depicted in ‘Der Bildhauer Fritz von Graevenitz und die Staatliche Akademie der Bildende Künste Stuttgart zwischen 1933 und 1945‘, Julia Müller, 2012.
Right: ‘Jungfrau‘ by Von Graevenitz, displayed at the GDK 1943 room 21. 
  



The Beautiful Lau, Eduard Mörike (1853)
The Beautiful Lau, the heroine of the story of poet Eduard Mörike (1804 – 1875), was only half a water spirit. Her mother was a human woman, and her father was a water nix of royal blood. She had thin webs between her toes, but apart from this she was not externally different to a human being. Beautiful Lau from the Black Sea, lived at the bottom of the Blautopf Lake in Blaubeuren. Back home she had suffered from a bad depression, so she could only give birth to stillborn children. Her mother-in-law had predicted that she would only be able to give birth to healthy babies after laughing out loud five times. As the Beautiful Lau had failed to do so her angry husband, the Water King of the Black Sea, banished her from the court and sent her to the Blautopf, were she eventually regained her good spirits after socializing with some women from the town. When she experienced some amusing episodes in their company she laughed out and thus was cured from her evil curse. Every now and then you can still hear her pealing with laughter at the Blautopf.

Blautopf, located in Blaubeuren, is the source of the river Blau. It is a pot spring, and connected to a cave system that was first studied in the 1950s. The spring waters are deep blue in colour, and change from turquoise blue to dark blue as the light shifts. During Germanys Romantic period, the Blautopf gave rise to all kinds of speculations and stories, and Morike, one of the most prominent exponents of Swabias group of Romantic poets, who spent a night in Blaubeuren during a journey in 1840, took his inspiration from this striking place.

'Die Schöne Lau' by Von Graevenitz. Created in 1950. Located in Blaubeuren. Executed in Muschelkalk.



'Die Schöne Lau' by Von Graevenitz. Bronze. Height 159 cm, excluding stone base 120 cm. Cast by Kunstgiesserei Franz Burger, Stuttgart-Untertürkheim, 1955. Offered by a German auction house in 2019.
  


Fritz von Graevenitz, 'Denkmal für das Grenadierregiment Königin Olga' ('Memorial to the Grenadier Regiment Queen Olga'). Located in the Schlossgarten, Stuttgart. Revealed in 1923.



Fritz von Graevenitz, ‘Pferd‘ (‘Horse‘). GDK 1937 room 32. Created in marble (Lahn-Marmor). Size: height 50, lenght 84 cm (ex base). Owned by the Reichserziehungsministerium, Berlin, 1937. Nowadays in the possession of the Staatliche Museen zu Berlin/ Nationalgalerie, and displayed (on permanent loan) in the Graevenitz Museum in Stuttgart.
Left: ‘Pferd’ by Von Graevenitz, depicted in ‘Fritz von Graevenitz, Werden und Werk‘, 1939.
 

'Pferd' by Graevenitz, displayed under the name 'Lezacy kon' at the exhibition 'Deutsche Bildhauer der Gegenwart', Krakow, 1938. Depicted in the exhibition catalog.



Fritz von Graevenitz, ‘Denkmal der Gefallenen des 122. Füsilierregiments‘ (‘Memorial to the Fallen of the 122. Regiment of Fusiliers’). Revealed in 1925. Cast by A. Brandstetter, Munich.



Left: Fritz von Graevenitz, ‘Knabe mit Speer‘ (‘Young Man with Spear‘), 1936. Located on the grouds of the Brögerschule in Unterhausen, Baden-Württemberg. The bronze was donated by the company ‘Baumwollspinnerei Unterhausen‘.
Right: 'Knabe mit Speer' by Von Graevenitz, depicted in 'Fritz von Graevenitz, Werden und Werk', 1939.
  


Fritz von Graevenitz, ‘Infanterie-Regiment Kaiser Friedrich, König von Preußen, Nr. 125‘, 1927. Memorial to the Infantry Regiment ‘Kaiser Friedrich, King of Prussia, Nr. 125’. Operational from 1809 to 1919 as part of the Württembergischen Armee. Also named ‘Siebener-Denkmal‘. Location Rotebühl – Herzogstraße, Stuttgart. Created in Muchelkalk.
 


Left: Fritz von Graevenitz, ‘Wappenadler’. ‘Coat-of-Arms Eagle’ at the façade of the Town Hall of the city of Hechingen. Executed in marble, 1936. Depicted in ‘Fritz von Graevenitz, Werden und Werk’, 1939, and in ‘Fritz von Graevenitz, Plastik, Malerei, Graphik’, 1957.
Right: Fritz von Graevenitz, ‘World War I Memorial’, 31 July 1918, commemorating 18 Fallen comrades in Bray sur Somme’. Depicted in ‘Fritz von Graevenitz, Werden und Werk’, 1939.
 


Fritz von Graevenitz, ‘Adler‘, 1938. Eagle on top of the ‘Tribünenturm’ at the Erich-Koch-Platz, Königsberg, Prussia (now Kaliningrad, Russia). Bronze. Weight: 3000 kg, length over 6 meters, height 3,5 meter.
Right: the bronze Adler by Von Graevenitz -ready for transport- in the foundry Strassacker in Süssen (near Stuttgart). Depicted in ‘Der Bildhauer Fritz von Graevenitz und die Staatliche Akademie der Bildende Künste Stuttgart zwischen 1933 und 1945‘, Julia Müller, 2012. 
 

The Erich-Koch-Platz in former Königsberg. Nowadays the Baltika Stadium in Kaliningrad, a multi-purpose stadium, until 2018 home to FC Baltika Kaliningrad. Clearly recognisable is the tower.



Fritz von Graevenitz, 'NS Reichsadler', Rosenbergbrücke, 1939. Nazi Eagle at the Rosenberg bridge in Heilbron. Executed in concrete. Size 3 x 3 meter.
Posctard on top: Rosenbergbrücke, 4 July 1942. 
Picture below: the Rosenbergbrücke nowadays.





Fritz von Graevenitz, 'Handgranatenwerfer' ('Grenade Thrower'), Flandernkazerne, Stuttgart, 1936. Created in Muschelkalk.
Left: 'Handgranatenwerfer' by Von Graevenitz, depicted in 'Fritz von Graevenitz, Werden und Werk', 1939. Also depicted in 'Wilhelm Westecker, Krieg und Kunst', 1944.
Left: 'Handgranatenwerfer' in front of the Flandernkazerne in Stutgart. Postcard. Same picture also depicted in 'Architektur und Bauplastik der Gegenwart', 1938.
 


Fritz von Gravenitz, 'Wedelbrunnen' ('Well Spring'). 1930. In the water-basin is a beaten dragon portrayed.
Left: 'Wedelbrunnen' depicted in ‘Fritz von Graevenitz, Werden und Werk’, 1939.
Right: 'Wedelbrunnen' in 2020.
  


Fritz von Graevenitz, ‘Reiter’ ‘(‘Rider’). Bronze, located on the terrace of the ‘Haus der Jugend’. Commisioned in 1936, revealed in 1938.
Left: ‘Rider’ by Graevenitz. Plastermodel. Depicted in ‘Fritz von Graevenitz, Werden und Werk’, 1939.
Right and below: ‘Rider’ by Graevenitz, located on the terrace of the Youth Hostel Tübingen (formerly the ‘Haus der Jugend’, the Tübinger headoffice of the Hitler Youth).
 




Fritz von Graevenitz, ‘Trauernde’ (‘Mourning’), 1932. Located in ‘Eningen unter Achalm‘. World War I and II Memorial, created in Muschelkalk.
Left and right: ‘Trauernde’ by Von Graevenitz, in 2020.
Below: ‘Trauernde’ by Von Graevenitz, at 28 March 1934.
  




Fritz von Greaevenitz, ‘Der Löwe von Gerlingen‘ (’The Lion of the city of Gerlingen‘). Memorial to the Fallen of the city of Gerlingen. Created in 1953. Located on the Schlossberg in Gerlingen.
The insciption at the base is by Friedrich Schiller:
‘Der für seine Hausaltäre
kämpfend sank, ein Schirm und Hort,
auch in Feindes Munde fort
lebt ihm seines Namens Ehre.
Drum erhebe frohe Lieder,
wer die Heimat wiedersieht,
wem noch frisch das Leben blüht!
Denn nicht alle kehren wieder‘.

'Der Löwe von Gerlingen' by Von Graevenitz, depicted in ‘Fritz von Graevenitz, Plastik, Malerei, Graphik’, 1957.


'Der Löwe von Gerlingen' by Von Graevenitz, Schlossberg 1,  in 2020.



Fritz von Graevenitz, ‘Löwenbrunnen‘ (‘Lion Fountain‘). Located at the Marktplatz in Vaihingen an der Enz. Revealed at 25 May 1947. Notice the crown on the head of the lion and the four little hills under his feet (corresponding to the Coats of Arms of the city of Vailingen since 1530).
 


Memorial to Gottlieb Wilhelm Daimler (1834 – 1900), engineer, industrial designer and industrialist, who was born in Schorndorf (Württemberg). Dailmer was a pioneer of internal-combustion engines and automobile development, and invented the high-speed liquid petroleum-fuelled engine.
  








Fritz von Graevenitz