Art Deco Bronze Sculpture of a Lion Kabuki Shumei Japan 1940

Art Deco bronze animal lion sculpture Size: W 38 cm, D 14 cm, H 38 cm Original patina. A video of the item Is available upon request...

Impressive Italian Art Deco 1940s large table clock in ceramic, white and light blue ceramic in good condition.  

1940s, Sweden. Art Deco sculpture featuring a female lion crafted in patinated bronze, mounted on a wooden base. The artist is anonymous.

A small desk sculpture or paperweight executed in patinated bronze. Given as a 40 year anniversary gift in 1949 (dated 1909-49). Danish made. Mea...

Antique Japanese Bronze Sculpture of Roaring Lion vs. Tiger This stunning antique depicts a lion and tiger locked in conflict. The ...

This striking Art Deco sculpture, crafted in France circa 1930, depicts a powerful lion in silvered bronze, embodying the bold and dynamic energy characteristic of the Art Deco movem...

Pair of sculptures from the Art Deco period in France. Each is sculpted into the shape of a lion, featuring one outstretched paw on a ball and supported by a base. These sculptures a...

An incredibly powerful Art Deco figure of a Standing Warrior poised for battle, he is a picture of sheer determination and will. Wind blows his hair behind him as every muscle in his...

A cast bronze lion figure mounted on a black rectangular base, depicted in a dynamic stance with stylized detailing, including a ribbed torso, deeply incised mane, and expressive fac...

Signed “E. Seger”. Black patina. Dimensions Height: 8 inches (20cm) Width: 7.5 inches (18.75cm) Depth: 8.5 inches (21.25cm) THE BIBLE STORY Samuel 17:34-36 Originally, Saul would not allow David to fight Goliath (17:33). Saul’s reason was simply that Goliath would be stronger than David. David was young and he did not have the experience to fight such a capable enemy as Goliath. David was likely to die, and his death would benefit nobody. Often people wrongly imagine that they are acting in faith (in other words, that they are trusting God). Really, they are acting in a foolish manner, as if the danger is not real. They are not trusting in God, but in their own thoughts, hopes and desires. David’s reply to Saul shows us his attitudes. This reply explains clearly why David had offered to fight Goliath. In other words, it shows how David considered himself able to defeat Goliath. Like many boys and young men in Israel, David had worked as a shepherd. That is, he looked after sheep. He was responsible to look after those sheep in every way. In particular, he had to protect them from wild animals. Lions and bears are some of the fiercest large wild animals. They were common in Israel at the time of the Bible. They are much stronger than a man (see for example 1 Kings 13:24 and 2 Kings 2:24). Only the bravest and strongest men were able to kill a lion (Judges 14:5-6; 2 Samuel 23:20). However, David had killed both a lion and a bear. He had killed animals that were stronger than him. David did not believe that the strongest man would win the fight. David had a close relationship with God; he was trusting God to rescue him (17:37). David was not pretending that there was no danger. However, God’s Holy Spirit was active in David’s life (16:13). By the power of his Holy Spirit, God had given David the faith (trust in God) to fight Goliath. Because David really was trusting God, there was no reason for him to be afraid of Goliath. THE ARTIST Ernst Seger (1865 1939), born in Neurode (Nowa Ruda, now Poland), studied sculpturing from 1884 at the Kunstschule in Breslau under Robert Härtel. From 1886 he worked in the Atelier of Christian Behrens, where he created the Eichendorff-Memorial for the Silezian City of Neisse. From 1893 to 1894 Seger stayed in Paris where he worked in the atelier of Auguste Rodin. However, Seger finally chose a ‘Jugenstill’ and a more ‘naturalistic’ or ‘Neuklassizismus’ style. His sculptures, modelled like the Greek antiques, were later greatly admired by the National Socialists. At the end of 1894 Ernst Seger went back to Berlin, founded his own atelier and created the Kaiser Wilhelm I memorial for the Silesian City of Glatz. In 1897 Seger created the sculpture ‘Jugend’ (‘Youth’), which was displayed at the ‘Große Berliner Kunstausstellung’ in 1898, at the ‘Große Berliner Kunstausstellung’ in 1899, at the ‘Münchener Glaspalast Ausstellung’ in 1899 and at the ‘Münchener Glaspalast Ausstellung’ in 1908. As a sculptor Seger regarded this as his first relevant work, his breakthrough. A copy of the sculpture in bronze, 1.60 metres high, was placed in the ‘Scheitniger Park’ in Breslau (now Wroclaw). In 1898 Segers ‘Diana’, the Roman Goddess of the Hunt, the Moon and Childbirth, was unvealed in Park Szczytnicki, Breslau, Polen (earlier ‘Schneitniger Park’). Until 1945 the sculpture stayed in the Schneitniger Park, Breslau. This part of the park is still called ’Dianagarten’. After the turn of the century the elegant female dancers and nudes by Seger gained great popularity. In 1905 Ernst Seger created -together with the sculptor Bernhard Sehring- the ‘Bismarck Brunnen’ (‘Bismarck Fountain’) in Breslau. This memorial-fountain (which still exists) represents the allegories ‘Kampf’ and ‘Sieg’ (‘Battle and Victory’). Seger’s ‘Verwundete Amazone’ (‘Wounded Amazon’), displayed at the Grosse Münchner Kunstausstellung in the Glaspalast in 1908, was placed in the garden of the ‘Kaufhauses Wertheim’ in Berlin. In the same year he was appointed as a professor. Seger’s marble sculpture ‘Kypris’, created in 1916, was placed in the Alten Nationalgalerie in Berlin. In 1925 the City of Berlin acquired his sculpture ‘Anbetung’ and placed it at the Johannaplatz. ‘Storchenbrunnen’ (‘Stork-fountain’), was placed in 1931 at the Adolf-Scheidt-Platz in Berlin. In 1935 the American newspaper publisher William Randolph Hearst bought Seger’s sleeping ‘Ganymede’. During the Third Reich Ernst Seger was commissioned numerous Hitler busts...