Berlin - Art

From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each o...

From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each o...

Bronze bronze on a marble base, H 46 - 49 cm (without - with base) Signed on the bronze base. bronze sculpture depicting Diana the Huntress holding a bow. Mathurin Moreau (1822-1...

Joan Saló is a Spanish contemporary abstract painter whose meticulous, meditative approach creates works that bridge manual gesture with digital-age precision. He lives and works in ...

Hans Rudolf Bosshard (*1929 Balm-Lottstetten), Six variations on a circular theme, 1967. Portfolio with inserted cover sheet and six color woodcuts on thin Japanese paper. Copy no. 6...

Jean-Baptiste Robie (1821 Brussels - 1910 ibid.). Still life with meadow flowers. Oil on wood, 24.5 x 18.5 cm (inside measurement), 37 x 31 cm (frame), signed and dated (difficult to...

Bronze, beautifully cast, patinated. Above a fluted round base, the figure of the Greek goddess of youth. Hébé is depicted here rising in a tight-fitting robe before an eagle, the sy...

Willibrord Haas (*1936 Schramberg), Reproachful, 2010. etching, 33.5 cm x 20 cm (plate size), 54 cm x 37.5 cm (sheet size). Signed “Willibrord Haas” in lead by the artist, dated “201...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Hues of colour, tones of life. Each artwork of the series shows a story, a tone, an element of existence in this world. There are countless shades to it. The images are just a select...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

This emotionally rich painting portrays the quiet presence of a beloved dog beside a woman, capturing a moment of stillness, trust, and unspoken connection. The work reflects the dee...

Hues of colour, tones of life. Each artwork of the series shows a story, a tone, an element of existence in this world. There are countless shades to it. The images are just a select...

This painting invites the viewer to rise above the noise of everyday life and see the world from a higher perspective. From above, the scene unfolds in serene contrast — the vast, te...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

Hues of colour, tones of life. Each artwork of the series shows a story, a tone, an element of existence in this world. There are countless shades to it. The images are just a select...

Hues of colour, tones of life. Each artwork of the series shows a story, a tone, an element of existence in this world. There are countless shades to it. The images are just a select...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

This painting invites the viewer to rise above the noise of everyday life and see the world from a higher perspective. From above, the scene unfolds in serene contrast — the vast, te...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Southern German summer landscape, around 1897. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisc...

These works explore our relationship with the incredible biodiversity of our planet Earth. Visual representations of flowing colours, smells, sounds and the feeling of our life sourc...

These works explore our relationship with the incredible biodiversity of our planet Earth. Visual representations of flowing colours, smells, sounds and the feeling of our life sourc...

Detlef Baltrock (*1954 Stuttgart), Untitled, 1985. Watercolor, 29.5 cm x 21 cm (visible dimensions), 41 cm x 32 cm (frame), signed “Baltrock” lower center and signed “[19]85”, label ...

The visual language of the power of the sun is represented through these paintings. Through painting and sculpture, Gregory Robin conveys the feeling of being present in a living, b...

restored oil on canvas unsigned 80 x 70 cm Unknown flower painting from the 18th century. Many paintings are unsigned. At the time they were considered part of the inventory of ups...

Rudolf KAESBACH (1873-1955), "Snake Charmer" Inscribed 'R. Kaesbach' on the plinth and with the foundry mark, height with base: approx. 30.2 cm Founding mark RM Rosenthal & Mae...

Arthur Kampf (1864 Aachen - 1950 Castorp-Rauxel), Study to an allegory of victory, around 1900. Pencil on paper, 21 cm x 18 cm, signed lower left "A. Kampf". - slightly darkened, otherwise in good condition - A virtuoso victory - About the artwork The vertical-format sketch illustrates a plateau to which a staircase leads up from the right. Arthur Kampf thus takes up a typical baroque disposition for the depiction of allegories. And indeed, a female figure climbs the steps to hand the palm of victory to a figure that is probably also female. Other persons standing on the plateau pay homage to her, whereby the figure on the left edge of the picture may represent a warrior. The scene is framed by an ornamentally decorated arch field, which additionally emphasizes the allegorical-historical content of the depiction. An arch can also be seen under the staircase, suggesting that this may be a design for a supraport. The sheet could have been created in the wake of Arthur Kampf's appointment in 1899 as head of the studio for history painting at the Berlin Art Academy. The drawing style, which only outlines the idea of the picture and yet is determined by concise lines, corresponds to the sketchiness of the Baroque and testifies to Arthur Kampfs intensive study of this heyday of history painting. About the artist Arthur Kampf was the son of the Aachen painter and imperial court photographer August Kampf. His older brother Eugen and his son Herbert were also painters. Arthur Kampf studied at the Düsseldorf Academy of Art from 1879 under Eduard von Gebhardt and Peter Janssen the Elder, whose master pupil he was from 1883 to 1891. Influenced by the naturalistic paintings of Jules Bastien-Lepage, which Kampf saw on a trip to Paris in 1885, he created the painting "The Last Statement" in 1886, which was based on a personal experience. It shows a man mortally wounded by knife wounds. The oppressive drasticness of the almost life-size depiction caused a sensation and controversial criticism. The first successes were achieved: At the Berlin Jubilee Exhibition of 1886, Kampf received an honorable mention, and at the Munich Annual Exhibition of 1890, he was awarded a gold medal. Between 1886 and 1936, Kampf participated in all the major German exhibitions. In 1887 the artist painted his first fresco, which was the beginning of a series of monumental compositions. With the highly successful painting "The Burial of the Corpse of Kaiser Wilhelm I in the Berlin Cathedral" (1888), Kampf established himself as a painter of contemporary history, following in the footsteps of Adolph von Menzel, whose oeuvre he immediately took up with the painting "Speech by Frederick the Great to His Generals in Koeben" (1893). The pictures of his Liberation War cycle were included in school textbooks and distributed in large editions as postcards. As for his academic career, Kampf became an assistant professor at the Düsseldorf Academy of Art in 1887, and in 1894 he was appointed professor of the class for antiquities and nature, and in 1897 he became head of the painting class. In 1899 Kampf was appointed director of the history painting studio at the Berlin Academy of Art. In 1901 he became a full member of the academy and was its president from 1907 to 1912. As Anton von Werner's successor, Kampf directed the Academy of Fine Arts in Charlottenburg from 1915 to 1925. Among his monumental works is the painting of the assembly hall of the Aachen town hall, done between 1898 and 1902. It focuses on the social welfare of the state and the work of the people. Important subsequent commissions include the painting of the reading room of the new Royal Library in Berlin and the new auditorium of the University of Berlin with "Fichte's Speech to the German Nation". During World War I, at the request of General Ewald von Lochow, Kampf traveled to the Western theaters of war, including Warsaw in 1916. In addition to painting, Kampf was also intensively involved in printmaking and, together with his brother Eugen and artist friends such as Alexander Frenz and Olof Jernberg, was considered an innovator of lithography in Düsseldorf. From 1913 on, he worked continuously as an illustrator of historical works and literary classics such as Shakespeare and Goethe. Kampf remained a recognized artist after 1933. On the occasion of the retrospective of his complete works at the "Great German Art Exhibition", he was awarded the "Eagle Shield of the German Reich". During the final phase of World War II, Kampf was placed on Hitler's "Gottbegnadetenliste," which protected him from military service. After World War II, Kampf, whose work was largely destroyed, fell into obscurity. Arthur Kampf belonged to numerous artists' associations. He was a member of the "Rheinisch-Westfälischer Künstlerbund", the "Society of German Watercolorists", the "Association of German Illustrators", the "Malkasten", the "Künstlerclub St. Lucas", the "Düsseldorfer Künstlerbund", the "Freie Vereinigung Düsseldorfer Künstler" and the "Berliner Künstlerbund". Arthur Kampf's sister was married to the painter Alexander Frenz. "Kampf's public recognition in the German Empire later led to his being one-sidedly labeled as a history painter and representative of the Wilhelmine era. This classification does not do justice to the artist's oeuvre as a whole. His early talent did not experience a rapid development later on, but it reached an ever greater mastery in the sense of an impressively relaxed realism and extended thematically beyond history. Kampf was also an excellent draughtsman, etcher and lithographer. Many of his works have been destroyed or lost, and some lead a shadowy existence in museum storerooms." - Otto Zirk "His importance as a Wilhelminian painter and cultural politician has been forgotten in favor of an exaggerated reception of his work during the Third Reich. - Andreas Schroyen Selection of public collections that own works by Arthur Kampf: Altonaer Museum Hamburg, Berlinische Galerie, Burg Frankenberg Aachen, Busch-Reisinger Museum Cambridge/Mass., Deutsches Historisches Museum Berlin, Government Art Collection London, Kulturhistorisches Museum Magdeburg, Kunsthalle Hamburg, Museum für Kunst- und Kulturgeschichte Dortmund, Museum Kunstpalast Düsseldorf, Neue Nationalgalerie Berlin, Suermondt-Ludwig-Museum Aachen, Van der Heydt-Museum Wuppertal. Selected Bibliography Hans W...

Thomas Röthel (*1969 Ansbach), Gradual Rotation, around 2005. Steel with rust patina mounted on stone plate. Overall dimensions: 38 cm (height) x 34 cm (width) x 27 cm (depth), weigh...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

Karl-Heinz Deutsch (*1940 Karlsruhe), Helmet Head, around 2003. Polished and patinated bronze, 23.5 cm (height) x 25.5 cm (length) x 16 cm (depth), weight 4.9 kg. Monogrammed on the ...

Rainer Ehrt (*1960 Elbingerode), Graphic portfolio for E. T. A. Hoffmann ‘Miss of Scuderi’, 2003. Seven color aquatint etchings, 53 cm x 38 cm in linen folder, each signed in lead lo...

Joan Miro (1893-1983), Color lithograph for Derrière le Miroir No. 203 II, 1973 Joan Miro (1893 Barcelona - 1983 Palma), Color lithograph for Derrière le Miroir No. 203, 1973. Printe...

Francesco Bartolozzi (1728 Florence - 1815 Lisbon), Putti in an allegorical love game, around 1764. Crayon engraving on laid paper after a drawing by Guercino, 21 cm x 29 cm (plate s...

Reiner Schwarz (*1940 Hirschberg), The Hunchback, 1969. Lithograph, 33 cm x 22 (depiction), 59 cm x 42 cm (sheet size), signed “R.[einer] Schwarz” in pencil lower right, dated “[19]6...

Willibrord Haas (*1936 Schramberg), Rising, 1980. Etching, 35 cm x 22 cm (plate size), 53.5 cm x 38 cm (sheet size). Signed “Willibrord Haas” in pencil by the artist, dated “1980”, t...

Acrylics, house paint, dry pressed Rose petals, dry pressed Datura flowers (4), varnish (partial) on industrial floor paper. I attempted to create a symbiosis between natural bio sh...

Paul Friedrich Meyerheim (1842 Berlin - 1915 ibid.). Sketch of a female torso with hands and an umbrella. Pencil on paper, 27.5 x 22.5 cm (visible size)...

Charming oil on canvas floral still life by Erich Lindenau (German, 1892–1955), monogrammed E.L. and dated 1947 lower right. The work depicts a graceful bouquet of cosmos flowers in ...

FRANCOIS-RAOUL LARCHE 1860 SAINT-ANDRÉ-DE-CUBZAC - 1912 PARIS Signed on the base with "RAOUL LARCHE," foundry mark "SIOT DECAUVILLE PARIS FONDEUR," and number "R 276." Total height...

Gérard Edelinck (1640 Antwerp - 1707 Paris), Joan of Austria, 1707. Copperplate engraving, 51.2 cm x 29.8 cm, inscribed below the image: "Jeanne d'Autriche Grande Duchesse de Toscane...

Seidel, Herbert (1906-1974), Autumn verso Summer Landscape, 1953 Herbert Seidel (1906 Berlin - 1974 Rüdersdorf), Autumn verso Summer Landscape, 1953. India ink on grained, bleached p...

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), The fruitless tree, 1948. Woodcut on yellowish wove paper, 15 cm x 14.6 cm (image), 45 cm x 30 cm (sheet size), signed “Rud.[olf] Nehm...

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), Blessed are the peacemakers, 1948. Woodcut on yellowish wove paper, 18 cm x 15.5 cm (image), 45 cm x 30 cm (sheet size), signed “Rud.[...

Anonymous, Soaring Eagle, mid-20th century Patinated cast metal mounted on quartz block. 24 cm (total height) x 29 cm (width) x 12 cm (depth). - Patina heavily rubbed in places, screw connections between sculpture and stone...

Joan Saló is a Spanish contemporary abstract painter whose meticulous, meditative approach creates works that bridge manual gesture with digital-age precision. He lives and works in ...

This work will be sent rolled in tube Joan Saló is a Spanish contemporary abstract painter whose meticulous, meditative approach creates works that bridge manual gesture with digita...

Anonymous, Sun God Ra (bookend), 16 x 13.5 x 6 cm (depiction), 17.5 x 13.5 x 8 cm (with pedestal), patinated brass, c. 1935. - Nose slightly rubbed, otherwise very good condition ...

This delicate freesia, painted in acrylic, blooms gently against the natural texture of jute-covered canvas. The artist intentionally leaves the background untouched, allowing the ra...

Josef Mathauser, 19th century, dramatic hunting scene in a wintry forest Decorative oil painting by the well-known Czech artist Josef Mathauser. Signed lower right. Magnificently fr...

Joan Saló is a Spanish contemporary abstract painter whose meticulous, meditative approach creates works that bridge manual gesture with digital-age precision. He lives and works in ...

Carl Bertold, Nordic Fjord Landscape in Sunlight, oil on canvas Dimensions without frame 81 x 120 cm Dimensions with frame 94.5 x 134.5 cm

Joan Saló is a Spanish contemporary abstract painter whose meticulous, meditative approach creates works that bridge manual gesture with digital-age precision. He lives and works in ...

Signed in gold and numbered on '2/5' on the recto. Edition of 5 impressions + AP. On Japanese gampi, printed in 2021.

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), Blessed are the pure in heart, 1948. Woodcut on yellowish wove paper, 17.8 cm x 15.4 cm (image), 35 cm x 25 cm (sheet size), signed “R...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Wilhelm Trübner (1851 Heidelberg - 1917 Karlsruhe), Female Nude Sitting on a Sofa, around 1900. Pencil drawing, 32.5 x 48.5 cm, monogrammed “W.T.” lower left and inscribed on the rev...

Gerlinde Beck (1930 Stuttgart-Cannstatt - 2006 Mühlacker-Großglattbach), Untitled, 1973. Series of four serigraphs, 29.8 cm x 29.8 cm, each signed in lead on the front and numbered on the reverse. Sheet 1-3 no. 74/100, sheet 4 no. 48/100. - Corners occasionally slightly bumped, minimal crease, otherwise in very good condition - Dancing Sculpture...

Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Forest idyll, around 1915. Bronze, gold and golden brown patina, with cast plinth, mounted on a marble base (5 cm high), total height 36 cm, dimensions of the bronze: 31 cm (height) x 17 cm (length) x 12 cm (width). Weight 4,6 kg, signed on the plinth "R.[udolf] KAESBACH". - a few rubbed areas, overall in excellent condition for its age - Soulmate - The bronze sculpture depicts a young woman in an intimate exchange with a deer that accompanies her. The animal pauses to turn toward her, while the nude beauty slows her pace to look into the deer's eyes and tenderly caress it with her hand. The woman and the deer are in inner harmony. Even though her lips remain motionless, she speaks the language of the animal with which she is deeply connected. The golden patina, which contrasts with the more naturalistic coloring of the deer, gives the young woman the appearance of a saint, even if she cannot be identified as such. At the same time, she evokes memories of Diana, the goddess of the hunt, or a nymph. But she lacks the ferocity. In her innocent naivety, she is more like a vestal virgin, who is not at home in the solitude of the forest. And yet, the young beauty, moving unclothed in the heart of nature, looks like a priestess with her hair tied up and a carefully carried bowl on her way to a sacred grove. In order to open up the above-mentioned associations, Kaesbach deliberately designed the female figure in such a way that she cannot be identified as a specific person. He has created an allegory of natural femininity, characteristic of Art Nouveau, in which the deer is far more than a companion animal. It displays the same gracefulness as the young woman, and the inner resemblance between the two makes the deer appear as her other self. In animal terms, it embodies her inner being, which also gives the deer an allegorical character. About the artist Rudolf Kaesbach studied sculpture at the Hanau Academy and worked in a bronze foundry in Paris in 1900. In order to work as an independent artist, he opened a workshop in Düsseldorf, where he cast bronzes from models he designed. In 1902 he made his debut at the German National Art Exhibition in Düsseldorf. The following year Kaesbach went to the academy in Brussels. There he was inspired by contemporary Belgian sculpture, especially the work of Constantin Meunier. He moved to Berlin, where he opened a studio in the villa district of Grunewald and devoted himself to life-size marble sculptures and the design of bronzes. From 1911, he regularly presented his works at the major art exhibitions in Berlin, as well as in Düsseldorf and Malmö. Between 1936 and 1939, he also created models for the Rosenthal porcelain factory. From 1939 to 1944, Kaesbach was represented at the major German art exhibitions in Munich. GERMAN VERSION Rudolf Kaesbach (1873 Gladbach - 1955 Berlin), Waldidyll, um 1915. Gold und goldbraun patinierte Bronze mit gegossener Plinthe, auf einem Marmorsockel montiert (5 cm Höhe), Gesamthöhe 36 cm, Maße der Bronze: 31 cm (Höhe) x 17 cm (Länge) x 12 cm (Breite). Gewicht 4,6 kg, auf der Plinthe mit „R.[udolf] KAESBACH“ signiert. - vereinzele beriebene Stellen, insgesamt in einem altersgemäß ausgezeichneten Zustand - Seelenverwandtschaft - Die Bronzeplastik veranschaulicht eine junge Frau im innigen Austausch mit einem sie begleitenden Reh. Das Tier hält inne, um sich zu ihr hochzuwenden, während die nackte Schönheit ihren Schritt verlangsamt, um dem Reh ebenfalls in die Augen zu schauen und es zärtlich mit der Hand zu liebkosen. Die Frau und das Reh sind in einem inneren Gleichklang. Auch wenn ihre Lippen unbewegt bleiben, spricht sie die Sprache des Tieres, mit dem sie auf eine tief empfundene Weise verbunden ist. Die im Kontrast zur naturalistischeren Einfärbung des Rehs aufstrahlende goldfarbene Patina lässt die junge Frau wie eine Heilige erscheinen, auch wenn sich nicht als Heilige identifizierbar ist. Zugleich ruft sie Erinnerungen an die Jagdgöttin Diana oder eine Nymphe hervor. Dafür fehlt ihr allerdings die Wildheit. In ihrer unschuldigen Naivität gemahnt sie vielmehr an eine Vestalin, die freilich nicht in der Waldeinsamkeit zu Hause ist. Und doch wirkt die sich unbekleidet im Herzen der Natur bewegende junge Schönheit wie eine Priesterin, die sich mit hochgebundenem Haar und der vorsichtig getragenen Schale und dem Wege zu einem Heiligen Hain befindet. Um die gennannten Assoziationen zu eröffnen, hat Kaesbach die Frauenfigur bewusst so gestaltet, dass sie nicht als konkrete Person identifizierbar ist. Damit hat er eine für den Jugendstil charakteristische Allegorie natürlicher Weiblichkeit geschaffen, bei der das Reh weit mehr als ein Begleittier ist. Es weist dieselbe grazile Anmut wie die junge Frau auf und der innere Gleichklag der beiden lässt das Reh als ihr anderen Ich erscheinen. Es verkörpert – ins Animalische übertragen - ihr inneres Wesen, wodurch auch dem Reh ein allegorischer Charakter zukommt. zum Künstler Rudolf Kaesbach studierte an der Akademie Hanau Bildhauerei und war im Jahr 1900 in einer Pariser Bronzegießerei tätig. Um sich als eigenständiger Künstler betätigen zu können, eröffnete er in Düsseldorf eine Werkstatt, in der er Bronzen nach selbstentworfenen Modellen goss. 1902 debütierte er auf der Deutschen Nationalen Kunstaustellung in Düsseldorf. Im Folgejahr ging Kaesbach an die Akademie nach Brüssel. Dort wurde er von der zeitgenössischen belgischen Bildhauerei, insbesondere vom Werk Constantin Meuniers, inspiriert. Zurückgekehrt zog er nach Berlin, wo er im Villenviertel Grunewald ein Atelier eröffnete und sich neben dem Entwurf für Bronzen der lebensgroßen Marmorbildhauerei widmete. Ab 1911 präsentierte er seine Werke regelmäßig auf den Großen Berliner Kunstausstellungen, aber auch in Düsseldorf und Malmö. Zwischen 1936 und 1939 fertigte er zudem Modelle für die Porzellan-Manufaktur Rosenthal an. Von 1939 bis 1944 war...