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Lot Essay
According to a note on the Mannheim cast, casts of this model were executed by Gießerei Anetsberger und Lefin in Munich. In R. Kashey's Western European bronzes of the nineteenth century: a survey, Nummer 1 A. Brandstetter is mentioned as the founder for Youth feeding stag by Joseph Hinterseher, around 1905.
Another cast of this model was exhibited during the St. Louis World's fair of 1904. And another cast of this model is in the public space of Der Schafweide in Mannheim, Germany
"The German exhibit of Arts and Crafts in the Varied Industries Building is the largest and best that Germany has ever made" wrote the Berlin architect Leo Nachtlicht in 1904 in a pamphlet to the St. Louis World's fair. Executed by a contingent of Germany's most progressive artists, architects and designers, the suite of fifty-nine model rooms to which Nachtlicht referred promoted Germany's applied arts industry and rigorously asserted the recently unified nation-state's development of a distinctly German decorative style. Klara Ruge, a writer for the German journal Kunst und Kunsthandwerk defined the official spaces in the German Section as starkly rationalist, linear form favoured by the North Germans. Situated at the end of the main exhibition aisle, the sunlit Summer Residence of an Art Connoisseur stood in notable contrast to the more austere style of the official halls that preceded it. Placed in the threshold between the two spaces, a pastoral sculpture by Joseph Hinterseher of a young boy with a deer, entitled Forest Idyll, heralded the shift to the more idyllic style of the country villa which included the contributions of the south-western German State of Hesse. (G.P. Weisberg, a.o. Twenty-first-century perspectives on nineteenth-century art: essays in honor of Gabriel P. Weisberg, Cranbury, 2008, p. 41)
Beer manufacturing giant August Busch Sr. chose his final resting place at Sunset Memorial Park in St. Louis County on a hilltop that affords a view of his family's Grant's Farm estate. A rough granite boulder bearing the Busch name marks the family gravesite and is the base for the statue which was originally displayed at the St Louis World's fair in 1904. (D. Rademacher, Still Shining! Discovering Lost Treasures from the 1904 St. Louis World's fair, St. Louis, 2003, p. 78, with ill.)
Albert J.M. Goudriaan (1871-1945) was the co-founder of de 'Van Nievelt, Goudriaan & Co's Stoomvaartmaatschappij N.V. in 1905. Within ten years the ship owning company proved to be the fastest growing shipping company in the Netherlands. In 1920 it took part in the VNS (Vereenigde Nederlandse Scheepvaartmaatschappij). Goudriaan held a key position in the VNS that maintained a regular line to the Far East and America. Together with other entrepreneurs, like Van Beuningen, Van der Vorm and Koenigs, Goudriaan played a significant part in the cultural life of Rotterdam as a patron of the theatre, music and the Boymans Museum. He was one of the members of the Rotterdamsche Kring, a cultural company of intellectuals, entrepreneurs and artist, which was founded by Mees, a banker. Partly because of Goudriaan's support, Museum Boymans was able to acquire important Old Master paintings. Moreover Goudriaan himself was a thorough collector of Old Master paintings. Works by Frans Hals, Aert de Gelder, Jan Steen, Jacob Maris and Constable were included in his collection. He remained contact with actors, musician, painters and architects. Performances and concerts were a regular event in his house. In 1928 Goudriaan built a new villa 'De Ypenhof' after a design by Kromhout. It is from the garden of this villa where the present owner, Albert Gourdriaan's grandson, 'rescues' the bronze figure by Joseph Hinterseher shortly before the villa is demolished in 1986.(Frits Scholten, 'iemand als U', brieven tussen Jan Eisenloeffel en A.J.M. Goudriaan, 1918-1929, in F. Gribling, G. Kieft, A. Martis, J. de Vries (eds.), That Special Touch, 1989)
Another cast of this model was exhibited during the St. Louis World's fair of 1904. And another cast of this model is in the public space of Der Schafweide in Mannheim, Germany
"The German exhibit of Arts and Crafts in the Varied Industries Building is the largest and best that Germany has ever made" wrote the Berlin architect Leo Nachtlicht in 1904 in a pamphlet to the St. Louis World's fair. Executed by a contingent of Germany's most progressive artists, architects and designers, the suite of fifty-nine model rooms to which Nachtlicht referred promoted Germany's applied arts industry and rigorously asserted the recently unified nation-state's development of a distinctly German decorative style. Klara Ruge, a writer for the German journal Kunst und Kunsthandwerk defined the official spaces in the German Section as starkly rationalist, linear form favoured by the North Germans. Situated at the end of the main exhibition aisle, the sunlit Summer Residence of an Art Connoisseur stood in notable contrast to the more austere style of the official halls that preceded it. Placed in the threshold between the two spaces, a pastoral sculpture by Joseph Hinterseher of a young boy with a deer, entitled Forest Idyll, heralded the shift to the more idyllic style of the country villa which included the contributions of the south-western German State of Hesse. (G.P. Weisberg, a.o. Twenty-first-century perspectives on nineteenth-century art: essays in honor of Gabriel P. Weisberg, Cranbury, 2008, p. 41)
Beer manufacturing giant August Busch Sr. chose his final resting place at Sunset Memorial Park in St. Louis County on a hilltop that affords a view of his family's Grant's Farm estate. A rough granite boulder bearing the Busch name marks the family gravesite and is the base for the statue which was originally displayed at the St Louis World's fair in 1904. (D. Rademacher, Still Shining! Discovering Lost Treasures from the 1904 St. Louis World's fair, St. Louis, 2003, p. 78, with ill.)
Albert J.M. Goudriaan (1871-1945) was the co-founder of de 'Van Nievelt, Goudriaan & Co's Stoomvaartmaatschappij N.V. in 1905. Within ten years the ship owning company proved to be the fastest growing shipping company in the Netherlands. In 1920 it took part in the VNS (Vereenigde Nederlandse Scheepvaartmaatschappij). Goudriaan held a key position in the VNS that maintained a regular line to the Far East and America. Together with other entrepreneurs, like Van Beuningen, Van der Vorm and Koenigs, Goudriaan played a significant part in the cultural life of Rotterdam as a patron of the theatre, music and the Boymans Museum. He was one of the members of the Rotterdamsche Kring, a cultural company of intellectuals, entrepreneurs and artist, which was founded by Mees, a banker. Partly because of Goudriaan's support, Museum Boymans was able to acquire important Old Master paintings. Moreover Goudriaan himself was a thorough collector of Old Master paintings. Works by Frans Hals, Aert de Gelder, Jan Steen, Jacob Maris and Constable were included in his collection. He remained contact with actors, musician, painters and architects. Performances and concerts were a regular event in his house. In 1928 Goudriaan built a new villa 'De Ypenhof' after a design by Kromhout. It is from the garden of this villa where the present owner, Albert Gourdriaan's grandson, 'rescues' the bronze figure by Joseph Hinterseher shortly before the villa is demolished in 1986.(Frits Scholten, 'iemand als U', brieven tussen Jan Eisenloeffel en A.J.M. Goudriaan, 1918-1929, in F. Gribling, G. Kieft, A. Martis, J. de Vries (eds.), That Special Touch, 1989)