Hugo Lederer, Bogenschütze

Hugo Lederer, Bogenschütze Hugo Lederer, Bogenschütze Hugo Lederer, Bogenschütze

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'Bogenschütze' ('Archer')
Created in 1916.
Smaller version of Lederer's Bogenschütz-sculpture placed in 1916 at the Kaiserdamm-entrance of the Lietzenseepark, Berlin; this bronze of 2.20 meter high was melted down in 1943 (as re-use for munition).
A plaster-cast of Bogenschüzte was displayed at the 'Frühjahrs-Ausstellung' of the 'Akademie der Künste zu Berlin', May/July 1919.

Postcards depicting Bogenschüzte at the Kaiserdamm-entrance of the Lietzenseepark. The postcard on the left is stamped on the back: '17-4-1942'.
A bronze head, identical in shape as the head of this Liezentseepark-sculpture, was displayed at the 'Deutsche Kunstausstellung', Munich 1930, Glaspalast. 

Left: 'Bogenschütze', photo taken at March 27, 1942.
Right: postcard of Bogenschütze by Lederer. Stamped at the back 13/3/1936.

Left: 'Bogenschüzte' by Lederer, depicted on the cover of 'Das Illustrierte Blatt', 19 June 1919. The text below the photo reads: 'Aus der Ausstellung in der Akademie der Künste zu Berlin' ('from the exhibition in the Akademie der Künste, Berlin').
Right: 'Bogenschüzte' by Lederer, depicted on the cover of 'Kunst und Volk, -Die NS Kulturgemeinde', 1936, Heft 1. 

Left: Hugo Lederer, 'Bogenschütz' depicted in 'Velhagen & Klasings', 1921/22.
Right: 'Bogenschütz' by Lederer depicted in 'Die Kunst im Deutschen Reich', 1940.

A cast of Bogenschütze by Lederer is in the possession of Museum Villa Oppenheim, Berlin. Height 54 cm.

- condition : II             
- size : height 109 cm, widt 67 cm.
- signed : signed at base. Created in 1916
- type : bronze               


Hugo Lederer, Bismarck Monument, Hamburg
The Bismarck Monument in Hamburg, revealed in 1906, is located in the St. Pauli quarter. It is one of 250 memorials to Bismarck worldwide and is the largest and probably best-known. The monument is executed in granite and is 35 meters high.
Designers created a large network of catacombs beneath the monument. During the years 1939 to 1940, they became an air-raid shelter offering protection for up to 650 people. The architect's intent for the catacombs remain unknown however they, and the entire monument interior, are no longer accessible for safety reasons.

Parts of Lederer’s Bismarck monument were displayed at the Great Berlin Art Exhibition 1907; remarkably, Emperor Kaiser Wilhelm II exercised his veto to prevent Hugo Lederer from getting the Grand Medal of Honor.
Left: ‘The Philadelphia Inquirer‘, 14 July 1907.
Right: a part of the Bismarck monument by Lederer, displayed at the Great Berlin Art Exhibition 1907 (depicted in the exhibition catalogue).

Hugo Lederer, ‘Der Fechter‘ (’The Fencer’), revealed 26 November 1904, Breslau (now Wroclaw, Poland). Height 2.00 meter. Located at the entrance of the main building of the University of Wroclaw.

Left: the original plaster model of Fechter, displayed at the 'Münchener Internationalen Kunstausstellung 1905'.
Right: Hugo Lederer, ‘Der Fechter’ displayed at the 20th Exhibition of the ‘Wiener Secession’, Vienna, March 1904.

Left: Another cast of Fechter by Lederer is located at the Kurt-Riess sportfields in Leverkussen. This cast was commissioned in 1923 by Carl Duisberg, Chairman of the Board of Direktors of Bayer AG.
Right: head of 'The Fencer' in detail.

Hugo Lederer, ‘Ringer’ (‘Wrestler’), created in 1911. Height 2,70 meter, located in the Preussenallee/ Heerstrasse, Berlin. Also named 'Der Sieger' ('The Victor').

Left: 'Ringer' by Lederer, depicted in 'Die Kunst in Deutschen Reich', 1940.
Right: 'Ringer' or 'Sieger' in the foundry workshop (notice the head at the left). Depicted in 'Die Kunst für alle', 1912/13. 

'Ringer', given the place of honour in front of all the guests, at the exhibition ‘Herbst-Ausstellung, Preussische Akademie der Künste‘, Berlin, 1940.
Depicted in the ‘Deutsche Zeitung der Niederlande‘,  29 October 1940. Left: Arthur Kampf holding the opening speech of the exhibition.

Hugo Lederer, ‘Ehrenmal für die Gefallenen des Leib.-Grenadier-Rgts. Nr. 8 zu Frankfurt‘ (‘War Memorial to the fallen soldiers of the Leib-Grenadier-Regiment Nr. 8 in Frankfurt‘).
Depicted in ‘Deutscher Ehrenhahn, für die Helden von 1914/18‘, Leipzig, 1931.

Hugo Lederer, ‘St. Georg nach dem Sieg über den Drachen‘ (‘St. Georg after the battle with the Dragon‘). Created in 1908, over life-size, decorating the east facade of the Landesmuseum für die Provinz Westfalen’, Münster.

Left: Hugo Lederer, 'Kauernde' ('Cowering'). Marble, created in 1916. Depicted in 'Die Kunst im Deutschen Reich', 1940.
Right: Hugo Lederer, 'Allegorie der Arbeit' ('Allegory of Labor'). Memorial to Friedrich Krupp (1787 - 1826), located at the grounds of Villa Hügel, Essen.

Hugo Lederer, 'Läufergruppe' ('Goup of Runners'). Created in 1929, located in Berlin/ Pichelberge, Am Scholzplatz. Melted down in 1943 (as re-use for munition).
The photo right is depicted in 'Hugo Lederer, Ein Meister der Plastik', 1931.

The atelier of Hugo Lederer in 1928. In the middel 'Läufergruppe'. At the background, from left to right: 'Heimkehr 1812', 'Peyrouse' and a plaster model of 'Bogenschütze'.

Hugo Lederer, ‘Stierbrunnen‘ (‘Bull-fountain‘), Arnswalder Platz, Berlin. Created in 1931, executed in red porphury. The design is from 1910: Lederer originally designed it for  a monumental fountain in Buenos Aires, but later in 1927 he sold the design to the city of Berlin.


Hugo Lederer, 'Peyrouse' also called 'Peruse'. From 1899 to 1902 Lederer sculpted the French wrestler Peyrouse in Belgium granite and in bronze. 
Left: 'Peyrouse' depicted in 'Die Kunst im Deutschen Reich', 1940.
Right: ‘Peyrouse‘, depicted in ‘Hugo Lederer, ein Meister der Plastik’, 1931. Height 1.00 meter.

The South Moravian Museum in Znojmo (Znaim) owns a cast of Peyrouse (at the background, right). At the left 'Kauernde', 1897.

Hugo Lederer, ´Genius der Künste´ (´Genus of Art‘), created in 1898. Located on top of the Kaiser-Wilhelm-Museum, Krefeld. Height 4,00 meter, weight 1700 kilogram. Nickname ‘Der Engel‘, or ‘The Angel‘. Genius der Künste was Lederer’s first commissioned public work. The bronze-group was restored from 2013-2015.

Hugo Lederer, ‘Merkur Brunnen‘ (‘Mercury Fountain’),  Frankfurt, Ludwig-Erhard-Anlage. Created in 1917. The gips-model was displayed at the 'Münchener Kunstausstellung', 1927, in the Glaspalast. Depicted in the exhibition catalogue ('Stiftung des Bankhauses Gebrüder Hahn').

Hugo Lederer, 'Diana', created in 1916. A cast was placed in 1925 in the Lietzenseepark, a second cast was placed in 1927 in Friedrichshain in Berlin. Both casts were melted down in 1943 (as re-use for munition).
Left: ‘Diana‘, located in the Lietzenseepark. Depicted in ‘Hugo Lederer, ein Meister der Plastik’, 1931.
Right: ‘Diana‘, located in the Lietzenseepark, 1927.

Left: plaster cast of Diana by Lederer was displayed at the 'Grosse Berliner Kunstausstellung', 1913. Depicted in the exhibition catalogue (below).
Right: 'Diana', temperary located in front of the Brandenburger Tor: July 1926.

Hugo Lederer, ‘Denkmal für die Gefallenen der Universität zu Berlin‘ (‘Memorial to the Fallen Students and Teachers of the University Berlin‘). Located on the grounds of the ’Friedrich Wilhelm Universität’, after 1946 the ‘Humboldt Universität’. Revealed on 10 July 1926; among those present for the ceremony were: Reichspräsident Hindenburg, Reichskanzler Marx und Reichswehrminister Geßler. The text on the memorial read: ‘Invictis victi victuri‘ (‘Den Unbesiegten die Besiegten, die wieder siegen werden‘).

Left: the ‘Denkmal für die Gefallenen der Universität zu Berlin' by Lederer, discussed in the 'Chicago Daily News', June 15, 1924.
Right: revealation of the 'Denkmal für die Gefallenen der Universität zu Berlin', July 1926.

Hugo Lederer, ‘Bust of Richard Strauss‘, created 1910. Height 40,5 cm. In the possession of the Belvedere Museum, Vienna. Bought from the artist in 1911.

Hugo Lederer, ‘Krieg und Friede' ('War and Peace'), two monumental reliefs at the facade of the Oberlausitzer Gedenkhalle in Görlitz. Created in 1899.
Left: 'Krieg'. Also depicted in 'Hugo Lederer, ein Meister der Plastik’, 1931.
Right: the facade of the Oberlausitzer Gedenkhalle in Görlitz: left 'Krieg', at the right 'Friede'.

Hugo Lederer, ´Sculptures at the facade of the building of the 'Reichsschuldenverwaltung, Oranienstrasse 106, Berlin´. Created in 1922. Terracotta.

Left: Hugo Lederer, 'Relief at the facade of the Rathaus Schöneberg, Berlin'. Relief honoring Reichsfreiherrn Carl von und zum Stein, 1913. Location: Rathaus Tempelhof-Schöneberg, Freiherr-vom-Stein-Straße, 2007.
Right: Hugo Lederer, 'Kaiser-Friedrich-Denkmal', Aachen. The memorial commemorates Kaiser Friedrich III, alson known as 'the 99-day's Kaiser'. Revealed by Kaiser Wilhelm II in 1911. Height 4,5 meter (excl. base).

Left: Hugo Leder, ‘Grabmal der Familie Roesch‘ (‘Gravestone of the Roesch-family‘), 1916. Sandstone. Located at the  graveyard Urnenhain, Dresden.
Right: Hugo Lederer, ‘Europa auf dem Stier‘ (‘Europe at the Bull‘). Height 22 cm. Bronze, 1930. In the possession of the Landschaftsmuseum Znaim.

Hugo Lederer, ‘Einzelfigur des Sechs-Frauen-Brunnens‘ (‘Figure from the Six-Women-Fountain), 1917/18. Stone. Location unknown.

Ich hatt‘ einen Kameraden
‘Ich hatt’ einen Kameraden’ (‘I had a Comrade’) is a traditional lament of the German Armed Forces. The text was written by German poet Ludwig Uhland in 1809. Its immediate inspiration was the deployment of Badener troops against the Tyrolean Rebellion. In 1825, the composer Friedrich Silcher set it to music, based on the tune of a Swiss folk song.  The song is about the immediate experience of a soldier losing a comrade in battle, detached from all political or national ideology; as a result, its use was never limited to one particular faction and was sung or cited by representatives of all political backgrounds throughout the 19th and 20th centuries, and was translated for use in numerous fighting forces, French, Dutch, Spanish, Japanese and others. ‘I had a Comrade’ still plays an important ceremonial role in the German Armed Forces and is an integral part of a military funeral, continuing a tradition started at some point around 1871. The song is often played on Volkstrauertag, the German Remembrance Day, at memorials for the fallen. To some degree it is also used in the French Army.

'Heimkehr, awarded a Silver-, 2 Golden- and the Great Golden Medal
Hugo Lederer, ‘Heimkehr 1812’ (‘Returning 1812‘). Created in 1893. Displayed in the 'Künstlerhaus Wien’ in 1894 and at the ‘Grosse Berliner Kunstausstellung 1895‘. Depicted in ‘Die Kunst für alle‘, 1895. Purchased in 1895 by the Albertinum Museum in Dresden.
A bronze cast was donated at 30 May 1924 to the city of Kleve, by Schoe-manufacturer Gustav Hoffmann; it was placed in 1925 at the Ehrenfriedhof of the city of Kleve (graveyard for the fallen soldiers of WWI).
Left and right: the ‘Heimkehr 1812’-cast which was placed in 1925 at the Ehrenfriedhof of the city of Kleve (Merowingerstrasse). Size (approx.): height 150 cm, width 190 cm, dept 50 cm.
The text in capital letters on top of the relief reads: 'Ich hatt’ einen Kameraden’ (‘I had a Comrade’). Photos taken in January 2019.


Left: postcard depicting the monument in Bad Kleve (before 1931). The text at the back reads: 'Prämiert mit der silbernen-, zwei goldenen und der Grosse goldenen Medaille' ('awarded the silver-, two golden- and the Great Golden medal').
Right: the Bad Kleve-relief depicted on a postcard; with the text: 'Ich hatt' einen Kameraden'.

Left: ‘Heimkehr 1812’ depicted in ‘Die Kunst für alle‘, 1895. The text below reads: ‘Grosse Berliner Kunstausstellung 1895´ and ‘Purchased by the Albertinum Museum in Dresden’. The 'Sculpture Collection of Albertinium' is still in possession of this plaster cast, signed '93. Size: height 154, width 192, dept 50 cm. Weight approx. 300 kilogram.
Right: a ‘Heimkehr 1812’-cast, 148x193 cm, in possession of the South Moravian Museum in Znojmo (Znaim). The museum owns a plaster and a bronze cast.

Hugo Lederer, ‘Ärtze Denkmal‘, 1926. Memorial to Doctors and Surgeons Killed in WWI, located in the city of Eisenach. Damaged in 1944/45, renovated in 1949/50 and 1997. The original text on the monument read: ‘Dulce et decorum est pro patrai mori‘ (‘süß und ehrenvoll ist es, für das Vaterland zu sterben‘).
The erection of the monument was described in several newspaper in the US (below).

The erection of the monument by Lederer, described in 'The Philadephia Inquirer', 18 July 1926.

Left: Hugo Lederer, 'Venezianerinnen' ('Women from Venice'). Depicted in 'Velhagen & Klasings Monatshefte', 1932/33. Created around 1920.
Right: Hugo Lederer, 'Schreitende' ('Stepping'). Displayed at the 'Akademie Ausstelling Berlin', 1925. Created in 1912.

Left: 4 October 1929, Hugo Lederer creating the death-mask of Gustav Streseman (1878-1929). Gustav Stresemann was a German statesman who served as Chancellor in 1923 and as Foreign Minister from 1923–1929 during the Weimar Republic. His most notable achievement was the reconciliation between Germany and France, for which he and Aristide Briand received the Nobel Peace Prize. During a period of political instability and fragile, short-lived governments, he was generally seen as the most influential cabinet member in most of the Weimar Republic's existence.
Right: the death mask of Stresemann by Lederer, depicted in the 'Illustrated London News', 12 October 1929. The text reads: 'The sudden death of Dr. Stresemann: the passing of the great German statesman and foreign minister. Clockwise from upper left: 1. With his wife and his two sons, one of whom was educated at Cambridge; Gustav Stresemann with his family; after a sudden death which was a great blow not only to Germany, but to Europe as a whole. 2. The mortal remains of Dr. Stresemann in his house; famous as German foreign minister, former chancellor, and worker for the rehabilitation of his country. 3. The late Dr. Stresemann, who died suddenly in Berlin on October. 4. And 5. The death-mask of Germany's great foreign minister, who shared the Nobel Peace Prize with M. Briand in 1926; the death-mask of Dr. Stresemann, a profile view of the cast taken by Professor Hugo Lederer, of Berlin. Photo: New York Public Library.

Left: 'Hugo Lederer, famous German sculptor dead'. Death Notice of Hugo Lederer, depicted in the Dutch Newspaper 'De Telegraaf’, 2 August 1940.
Right: Hugo Lederer, depicted on the cover of ‘Hugo Lederer, ein Meister der Plastik’, 1931.

Hugo Lederer, one of the major sculptors of the Second Reich
Hugo Lederer (1871–1940), born in Znaim (Austria-Hungary) was the son of a painter/decorator. Basically self-educated, he first received training as a moulder’s and potter’s apprentice at the State Trade School for the Pottery Industry in his native town. From 1888 to 1890 he worked at Erfurt in the Deutschmann Arts and Crafts Industry; in 1891 he worked in Dresden along with Johannes Schilling, sculptor of the Niederwald Monument, and in 1892 in Breslau with Christian Behrens. A year later he moved to Berlin, where he frequented the studio of Robert Toberentz, and decided to devote himself exclusively to sculpture. Hugo Lederer opened his own studio in Berlin in 1895. In 1898 he received his first public assignment: the Genius-group (‘Genius of Art’), placed on top of the Kaiser-Wilhelm-Museum in Krefeld. Lederer became a celebrity in 1901 by winning first prize in the open competition of the city of Hamburg for the erection of a monumental statue for the Bismarck Statue (Elbpark). It took him 5 years, together with the architect Emil Schaudt, to complete this work which was 35 meters high. Both Kaiser Wilhelm II and Hitler visited the monument and walked around it (1906 respectively 1939). Parts of Lederer’s Bismarck monument were displayed at the Great Berlin Art Exhibition 1907; remarkably, Emperor Kaiser Wilhelm II exercised his veto to prevent Hugo Lederer from getting the Grand Medal of Honor.
However, from then on Lederer became one of the main sculptors of the Second Reich. The Hamburg Bismarck monument permitted Lederer to set his own style and to detach himself from the baroque tendency, which was embodied at that time by Reinhold Begas. Lederer, who produced splendid anatomical sculptures, was strongly inspired by the Antik sculptors, and by Adolf von Hildebrand. Soon he had an output of more than two hundred sculptures and monuments. His works of this period include: ‘Heimkehrende Soldaten’ (1893), ‘Kauerndes Mädchen’ (1897), ‘Genius-Figurengruppe’ (Krefeld, 1897), ‘Krieg und Friede’ (1899), ‘Bismarck Denkmal‘ (Barmen, 1900), ‘Fechter-brunnen’ (Breslau 1904), ‘Das Schicksal’ (Hamburg, 1905), ‘Bismarck Monument’ (Hamburg 1906), 
‘Krupp-monument’ (Essen, 1907), ‘Ringer’ (Berlin, 1908), ‘St. Georg nach dem Sieg über den Drachen’ (Münster, 1908), ‘Kaiser-Friedrich Denkmal’ (Achen, 1911), ‘Fichte and ‘Savigny-statues’ (Berlin, 1914), ‘Bogenschütze’ (Berlin, 1916), ‘Diana’ (Berlin, 1916), ‘Mercury Fountain’ (Frankfurt, 1917), ‘Sieger’ (Berlin, 1927), ‘Läufergruppe’ (Berlin, 1928), ‘Stierbrunnen’ (Berlin, 1934), and ‘Allegorie der Arbeit’ (Essen, 1936).
At the occasion of the building of the Deutsche Sportsforum (German Sports Fields) in Berlin, from 1926-1928, several sport-related sculptures by Lederer were placed and/or replaced in the city of Berlin: Ringer from 1908, Bogenschütze from 1916, Diana from 1916 and 1926, Ringer from 1927, Läufergruppe from 1928; Amorbrunnen by Lederer (1928) was placed on the grounds of the Deutsche Sportforum, and Diana was even placed in front of the Brandenburger Tor.
From 1893 onwards, Lederer was represented at all major exhibitions in Germany: at the ‘Grosse Berliner Kunstaustellungen’ (1893, 1895, 1896, 1897, 1898, 1903, 1907, 1913, 1917), at various exhibitions of the Preussische Akademie der Künste and in the Glaspalast in Munich (first in the Section Münchener Künstlergenossenschaft, later in the section Münchener Secession).
Lederer was appointed professor in 1909 by Kaiser Wilhelm II, as a reward for his design of the ‘Kaiser-Friedrich-Denkmal’ in the city of Aachen. In 1913 he was appointed teacher at the College for Fine Arts in Berlin. In 1916 he became, together with Franz Metzner and Fritz Klimsch, Head of the Sculpture Department of the same College (Hochschule). In 1919 he became member of the Senate of the Berlin Academy of Fine Arts; he found himself entrusted, as successor of Louis Tuaillon, with directing a Meisterstudio for sculpture at the Berlin Academy. His students included Josef Thorak, Gustav Seitz, Emy Roeder and Hans Mettel.
During his career, Hugo Lederer was awarded the following titles and distinctions: Honorary Member of the Academies of Vienna and Munich; Member of the Academy of Berlin, Doctor h.c. of the University of Breslau, Member of Dresden Academy, Member of the Senate of the Deutschen Akademie zu München, Member of the Art Advisory Committee of the Reichstag, Member of the ‘Deutschen Gesellschaft der Wissenschaften und Künste für die Tschechoslowakische Republik’, the ‘Kleine Goldmedaille’ at the Grosse Berliner Kunstaustellung 1903, the ‘Grossen Goldmedaille’ of the cities of Berlin, Munich, Dresden and Hamburg, the ‘Swedisch Nordstjärneorden’ (‘Medal of the Polar Star’) in 1914, the Bavarian ‘Maximiliansorden für Kunst und Wissenschaft’ in 1929, and, together with Albert Einstein, Max Liebermann and Felix Klein the ‘Orden Pour le Mérite für Wissenschaft und Künste’ in 1923. A large bronze cast of ‘Heimkehr 1812’, placed in 1925 at the Ehrenfriedhof of the city of Kleve, was awarded a silver-, two golden- and a Great Golden medal.
In 1931 Lederer became a member of the paramilitary organization Stahlhelm, and in 1933 he joined the NSDAP (but refused to submit a ‘Abstammungsnachweiss’). However, after 1933 Lederer no longer played a significant role in the art world. His age was certainly a relevant factor, but more important was his illness; since approximately 1924, Lederer had suffered from progressive paralysis, a dramatic organic brain disease, which leads to a rapid development of dementia. His last work was the creation of a memorial in 1936, commissioned by the Krupp family. He retired officially in 1937, but on his request he could keep his atelier in the College. The NSDAP classified him in 1937 as an ‘inactive member’. 
Lederer died in Berlin on August 1, 1940. Minister of Propaganda Goebbels did send a wreath to the funeral. According to his last will, Lederer’s son brought his artistic heritage in 1941 to the museum of the city of Znaim.  The artworks in possession of his widow were destroyed during a bombing raid in Berlin in 1943. After 1945, when his native town was returned to Czechoslovakia, most of his remaining works in Znaim were destroyed or scattered. 
Lederer produced around 300 works during his life. Various museums in Germany and in the Czech Republic are in the possession of his works, including the Nationalgalerie in Berlin, the Berlinische Galerie-Museum für Moderne Kunst, Georg-Kolbe-Museum, Kunstforum Ostdeutsche Galerie in Regensburg, the Staatlichen Kunstsammlungen Dresden and the Südmährischen Museum in Znojmo/ Znaum. Many magnificent public works by Lederer still exist, such as those in Aachen, Hamburg, Krefeld, Wroclaw, Poznan, Frankfurt am Main, Berlin, Oldenburg, Eisenach, Münster and in graveyards in Berlin, Kleve, Hamburg, Bielefeld, Köln and Mainz.