1904: Jean-Baptiste Pigalle, Mercury and Venus (1748)

Source: Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinische Kunst / Antje Voigt
There and back again
by Tara Neugebauer
The sculptures of Mercury and Venus created by the renowned sculptor Jean-Baptiste Pigalle (1714-1785) unfold a far more intricate narrative than might be initially perceived. Commissioned by the King of France in 18th-century Paris as a gift for Prussian king Frederick the Great, the first chapter of their journey began in Sanssouci Park, Potsdam. However, their journey did not end here, it was just the beginning. Mercury and Venus endured turbulent times, including separation and transitions across various Berlin museums, the upheaval of World War II and the ensuing Cold War era. These sculptures not only exemplify French sculptural art of the eighteenth century but also serve as witnesses to the political and cultural events of their time. Their story is a captivating chapter in art history, continuing to arouse curiosity and admiration today.
WORK RECORD
Mercury (Merkur), by Jean-Baptiste Pigalle, 1748, Carrara marble, 195 x 120 x 96 cm, Inv. Nr. 356, transferred from the (Altes) Museum by Wilhelm Bode
Now in: Berlin, Bode-Museum
Originally from: France, Paris, Studio of Jean-Baptiste Pigalle (Louvre)
Passed through: Potsdam, Sanssouci (1752-1843); Berlin, Berlin Palace (1844), Berlin, (Altes) Museum (1845-1903); Berlin, Kaiser-Friedrich-Museum (1904-1942); Berlin, Zoo Flak Tower (1942-1945); Leningrad (St. Petersberg), Hermitage (1945-1958); Berlin, Alte Nationalgalerie (1958-1968); Berlin, Deutscher Dom (1968-?); Berlin, Alte Nationalgalerie (?-1987); Berlin, Bode-Museum (1987-1998); Berlin, Gemäldegalerie (1998-2006); Berlin, Bode-Museum (2006-today).
Venus (Venus), by Jean-Baptiste Pigalle, 1748, Carrara marble, 188 x 110 x 95 cm, Inv. Nr. 2836, bequested by Wilhelm Bode from the emperor Wilhelm II.
Now in: Berlin, Bode-Museum
Originally from: France, Paris, Studio of Jean-Baptiste Pigalle (Louvre)
Passed through: Potsdam, Sanssouci (1752-1903); Paris, World Fair (1900); Berlin, Kaiser-Friedrich-Museum (1904-1942); Berlin, Zoo Flak Tower (1942-1945); Leningrad (St. Petersberg), Hermitage (1945-1957); Berlin, Alte Nationalgalerie (1958-1968); Berlin, Deutscher Dom (1968-?); Berlin, Alte Nationalgalerie (?-1987); Berlin, Bode-Museum (1987-1998); Berlin, Gemäldegalerie (1998-2006); Berlin, Bode-Museum (2006-today).
COMMENTARY
The two imposing sculptures of Mercury and Venus are likely the most famous compositions of the French sculptor Jean-Baptiste Pigalle. Commissioned by the French king, he completed the two sculptures in Paris in 1748, as indicated by the inscriptions on the circular pedestals: “J.B. Pigalle F 1748 Parisiis.” Nearly two meters tall, the sculptures, crafted from Carrara marble, depict a specific scene from a widely known myth: Venus instructing Mercury to travel to Earth to retrieve the mortal woman, Psyche. Psyche, Cupid’s Lover, had offended him and his mother, Venus, and was thus tasked with completing various trials.[1]
Both Mercury and Venus are depicted seated on clouds atop Mount Olympus. Venus gazes over her left shoulder towards Mercury, her right hand gesturing downward towards the Earth. Her demeanor is graceful and subtle. Below her left arm, two cooing doves symbolize her role as the goddess of love. Mercury’s gaze is directed towards Venus over his right shoulder. He wears his winged traveler’s hat and is in the process of fastening his winged sandals. Embedded in the cloud is his shepherd’s staff, the Caducaeus.
Originally intended as a gift for Frederick the Great, both statues were placed in the park of Sanssouci upon their arrival in Prussia and remained there for several decades. In the subsequent periods, however, their location changed repeatedly. Today, they can be admired side by side by the public in a museum. The Bode-Museum marks, for now, the end of their journey.
Origin and Destination: Paris and Prussia (1748-1844)
The history of the two sculptures, Mercury and Venus, actually pre-dates their creation in 1748. It can be traced back several years earlier when the young artist Jean-Baptiste Pigalle crafted a Mercury from terracotta in 1741.[2] This caught the attention of the Académie royale de peinture et sculpture, which then requested a marble rendition of this Mercury. Pigalle was supposed to (and wanted to) become a member of the academy, which he accomplished by July 30, 1744. The marble Mercury served as his “morceau de réception“, his admission piece.[3]

Source: Wikimedia Commons (Louvre Museum / Pierre Philibert)
This rendition of Mercury (Fig. 3), today on display at the Louvre, caused a stir in 18th-century Paris, because its quality was considered as almost equal to that of its antique counterparts, that even the French king himself, Louis XV, took notice. He commissioned Pigalle to create this marble statue again in 1746, but requested it to be significantly larger, over two meters high. Additionally, the artist was asked to realize a second statue as a complement. Given the depicted scene, only one figure seemed suitable: Venus.[4]
In the same year of their completion in 1748, the sculptures were exhibited at the Paris Salon before being prepared for transport to Potsdam.[5] In fact, Louis XV had not intended the statues for the adornment of his own court, but he had chosen them as a gift for the King of Prussia, Frederick the Great. Alongside Pigalle’s Mercury and Venus, three other statues were part of the royal gift: The Hunt, The Fishery, and Mars by Lambert-Sigisbert Adam (1700-1759).[6] The gift seemed to occur without a specific occasion but its diplomatic significance was clear: it was likely intended to be perceived as a gesture of great friendship on the part of the French king.[7]
Since the beginning of construction of Sanssouci in Potsdam in 1745, Frederick the Great had been searching for suitable sculptures to adorn the palace and its associated park. Louis XV probably seized this moment to present him with the gift of the statues, thus strengthening the Franco-Prussian alliance. After Russia had formed an alliance with Austria in 1746, France probably wanted to avoid being encircled by enemies.[8] Given that Mercury is often referred to as a bringer of peace, the gift of the statue can be interpreted as a sign of peace in this context.[9]
In 1750, the sculptures were sent from France to the Kingdom of Prussia by Marquis Valory.[10] The French population deeply lamented parting with sculptures of such exquisite beauty and craftsmanship.[11] Unlike some other artworks, Mercury and Venus enjoyed great admiration even during the artist’s lifetime. Their popularity among the public reached such heights that painters depicted the sculptures in various of their paintings, such as The Bathing Pool by Hubert Robert or Still Life with Attributes of the Arts by Jean-Baptiste-Siméon Chardin (Figs. 4-5).


Venus and Mercury arrived in Sanssouci in 1752 and were installed in the park by the grand fountain, which lies opposite the palace and can be reached via the terraces.[12] At the time of the installation, the fountain was not yet working; it had thus far been a simple water basin. The basin was surrounded by twelve different marble sculptures of mythological content.[13] Mercury and Venus flanked the path to the palace, representing the artistic pinnacle of the royal collection.[14]
Mercury seemed to have been generally attributed greater value, with his beauty repeatedly emphasized.[15] Ultimately, the earlier rendition of Mercury was also the catalyst for Pigalle’s swift rise as an artist and his numerous commissions at the French court. A quote by Matthias Oesterreich (inspector of the great royal art gallery at Sanssouci) further illustrates the special interest in the sculpture of Mercury:
“[Mercury] is undoubtedly one of the most beautiful modern statues one can see. Pigalle has expressed nature with all imaginable art. He has given this figure an exceedingly beautiful and noble posture. There is nothing forced about it; rather, there are many beauties to behold from whichever angle one views it. The circumstance intended therein is as happily conceived as it is skillfully devised.”[16]
Decades passed, and the statues remained in their place by the fountain. Over time, their condition deteriorated, as can be gleaned from contemporary reports.[17] Perhaps due to this declining state of preservation, the sculpture deemed as more valuable, Mercury, left its outdoor location in 1830 and was installed in the vestibule of the palace.[18] Mercury replaced the ancient sculpture of Trajan as Jupiter, which had previously been placed there and was transferred to the Museum (later renamed Altes Museum) in Berlin, newly opened in 1830.[19]
In 1843, the German sculptor Heinrich Berges was commissioned to create a replica of Mercury, which was then installed at the original location near the fountain.[20] In contrast, the sculpture of Venus was not replaced by a copy, leaving it exposed to the elements.[21] Its transfer to one of the museums in Berlin was still far off at that time. Therefore, the paths of the sculpture pair, Mercury and Venus, diverged.
Separation and Reunion: Sanssouci, (Altes) Museum, Kaiser-Friedrich-Museum (1844-1940)
In 1844, Mercury followed Trajan‘s sculpture and entered into the possession of the Royal Museum. It was briefly exhibited at the Royal Palace of Berlin until, a year later, it was transferred to the ground floor of the neighboring (Altes) Museum.[22] But how come the sculpture was not displayed in the museum sooner? At the beginning of the 19th century, museums primarily focused on collecting and exhibiting works of the antiquity and the Renaissance.
Pieces from the 18th century were not highly valued in the museum canons of that time. It wasn’t until a separate hall for modern and medieval sculptures was opened in 1845 at the (Altes) Museum that Mercury was considered.[23] Pigalle’s Mercury embodies the style of the so-called French Rococo, with the gallant, cheerful spirit commonly associated to that era. Among the primarily Italian sculptures in the museum, it was a special attraction and could set a unique accent.[24] Initially, it was placed in the newly build hall of modern and medieval sculptures, and later moved to the section for sculptures of the Christian era.[25]
While Mercury had been admired in the museum for several decades, Venus was still exposed to the elements outdoors at the fountain in Sanssouci Park. It wasn’t until 1900 that she changed her location, albeit briefly. She had the opportunity to revisit her home, Paris, for a short period when she was exhibited at the Paris World Fair, as one of the few pieces selected to be presented in the German Pavilion.[26] After this stay, the statue returned to its location by the fountain in Sanssouci Park. However, her fate changed a few years later with the planning of the Kaiser-Friedrich-Museum (now Bode-Museum), which was scheduled to open in 1904.[27]
The German art historian and director of the royal sculpture- and painting collections in the Royal Museum Wilhelm Bode was renowned for his talent in discovering significant artworks and his perseverance in acquiring them for the Berlin museums. He was responsible for the planning and construction of the Kaiser-Friedrich-Museum as the new home for the sculpture and painting collections of the Christian era and was determined not only to utilize the works already in the possession of the Berlin museums, but also to acquire and display numerous new pieces.[28] The rear staircase in the Small Dome of the new Kaiser-Friedrich-Museum was designed entirely in the style of Rococo and was intended to be furnished with an equally impressive collection of sculptures from the same era.[29] Mercury and Venus, which had previously flanked the main entrance to the fountain in Sanssouci Park, seemed to be the perfect choice to frame the impressive staircase.[30]
Transporting Mercury from the Altes Museum to the close-by Kaiser-Friedrich-Museum was a somewhat straightforward task. However, Venus presented a greater challenge. In order to reunite the two statues in one location, Bode requested the transfer of Venus and several other sculptures directly from the emperor himself, Wilhelm II. As Bode explained in his self-written biography, he experienced the “most generous cooperation”[31] from the emperor. Similar to Mercury, the deteriorating condition of the Venus may have been a reason supporting its musealization. A marble copy of Venus was commissioned from sculptor Paul Hubrich in 1902 and was then placed at the fountain.[32] This allowed the two original sculptures by Pigalle to be displayed in the rear staircase in the Small Dome during the museum’s opening in 1904, where they flanked the stairway side by side. Mercury and Venus remained there until 1940, finally reunited.[33]
Departure and Return: World War II, Soviet Union and GDR (1940-today)
The Second World War brought havoc and destruction in Europe and beyond, including the Museum Island. Countless bombs hit Berlin, fires ravaged the streets, and people feared for their lives. The artworks in the museums were in grave danger, with no one knowing when the next building would be hit. For safety reasons, the most significant works were relocated from the museums to various locations as quick as possible. Some were transported out of the city entirely, while others were housed within Berlin in the so-called flak towers.[34] Pieces that could not been moved were secured in the best way possible inside the museums.[35]
This period likely marks the most turbulent and chaotic time in the lives of Mercury and Venus. As the Kaiser-Friedrich-Museum was also affected by the war, the two sculptures had to be somehow safeguarded. It is reported as early as 1941 that both sculptures were protected within the museum, although specific details of the protection measures were not provided.[36] A year later, they were still inside the museum, but there was now increased concern for their safety. During the war large quantities of wood were used and stored in the Kaiser-Friedrich-Museum,[37] significantly increasing the risk of fire.[38] For this reason, further precautions were taken later that year.[39] Additionally, more detailed information was now provided regarding where and how the statues were protected. Mercury and Venus were removed from the landing platforms and installed beneath the staircase. There, they were secured by a sturdy timber framework and covered with sandbags.[40]
However, there was only one way to preserve the statues from significant damage during the war: they had to be transported to one of the Berlin flak towers. Repeated requests were made to the General Director of the National Museums of Berlin in order to facilitate the transfer of the sculptures.[41] Finally, on June 24, 1942, the awaited day arrived, marking the transportation of Mercury and Venus to the Zoo Flak Tower.[42] There, they remained alongside several other artworks until the end of World War II in 1945.[43]
Following the Battle of Berlin and the unconditional surrender of the German Armed Forces, the city was divided into four sectors among the occupying powers: the United States of America, Great Britain, France, and the Soviet Union. During this time, the occupying powers often confiscated artworks from German museums and transported them to their home countries, at times exhibiting them in their museums. The Zoo Flak Tower fell within the Soviet Union’s sector. As a result, the tower, along with all the materials and artworks collected within it, was inspected and the materials partially removed by the Soviet armed forces.[44]
Discrepancies now arise in the documentation regarding the whereabouts of Mercury and Venus. Records of the central archive state that both sculptures were recovered from the flak tower in 1946 and taken to Karlshorst in the same year.[45] During the Battle of Berlin, Karlshorst housed the headquarters of parts of the Red Army, later becoming the headquarters of the Soviet Military Administration in Germany. A document from 1948 reports that all 62 objects recovered from the Zoo Flak Tower and additional pieces from the Museum Island were removed and transported without specifying the destination.[46] The individual artworks are not mentioned by name. Mercury and Venus then reappear in the records of 1957, listed as exhibition pieces in the Hermitage in Leningrad (now St. Petersburg).[47]
In the records of the Hermitage, however, it is stated that the sculptures were transported from Berlin to Leningrad in October 1945.[48] This would imply that they may have been taken directly from the flak tower to the Soviet Union without first being held in Karlshorst. Upon arrival at the Hermitage, Mercury and Venus were part of the exhibition Works of Art from the Museums of the German Democratic Republic until 1958 and were also mentioned in the catalogue of the same name.[49]
As a gesture of friendship, the Soviet Union had initiated a large repatriation effort to the German Democratic Republic (GDR) as early as March 1955. As a result of this initiative, more than 1.5 million pieces were returned to the GDR. This repatriation effort continued until September 1958. In the same month, the two sculptures were prepared for transport and packed into crates. Finally, in December 1958, they embarked on their journey back home to the Museum Island.[50]
Upon their return, Mercury and Venus were first showcased in the exhibition Treasures of World Culture rescued by the Soviet Union (Schätze der Weltkultur von der Sowjetunion gerettet).[51] This exhibition, held from 1958 to 1959, featured the artworks previously exhibited in Moscow and Leningrad. The Alte Nationalgalerie and the north wing of the Pergamon-Museum served as exhibition venues. Mercury and Venus were displayed in the European Art section, and were likely to be found either on the ground floor or at the staircase. In the catalogue, they were listed as German sculptures from the 17th and 18th centuries.[52]
In the subsequent years, tracing the whereabouts of both statues becomes less straightforward as they are less frequently documented in museum records. Due to extensive war damage throughout the Museum Island, all museums initially had to undergo repairs, resulting in significantly constrained exhibition space. Therefore, many pieces had to be stored in depots or similar facilities.[53]
Mercury and Venus are mentioned again in 1968. Due to spatial constraints, they had to be removed from the staircase at the Alte Nationalgalerie, while plans were made for their display in the Deutscher Dom at Gendarmenmarkt.[54] This cathedral is still utilized as a museum today, showcasing rotating exhibitions. It is possible that both sculptures remained in the Deutscher Dom until 1982, as I could not find any further mention of them until that time. Eventually, on January 6, 1982 (until 1983), Mercury was taken for molding to the restoration studio of the Prussian Palaces and Gardens Foundation.[55] It is presumed that both sculptures returned to the Alte Nationalgalerie in the following years, as they are mentioned as exhibits there in 1987.[56]
In 1987, they returned temporarily to their current location: the Bode-Museum (formerly the Kaiser-Friedrich-Museum).[57] However, they stayed there no longer than a decade as the Bode-Museum, too, suffered significant war damage and underwent renovation. Initial renovation work during opening hours had been completed after the German reunification in 1992, but a comprehensive restoration was undertaken in 1997, resulting in the museum’s closure from 1998 to 2006.[58] To allow public viewing of both sculptures during this period, Mercury and Venus were transported to the Gemäldegalerie and were temporarily exhibited there from 1998 on.[59]
Upon the reopening of the Bode-Museum October 2006, Mercury and Venus were once again reinstalled in the rear staircase in the Small Dome, where they continue to flank the stairway to this day side by side, as Wilhelm Bode had planned when the museum first opened its doors to the public in 1904.
[1] Tarbé 1859, pp. 28. It seems that Pigalle took inspiration from La Fontaine’s narrative during his production. Ibid.
[2] Bildakten, George Pelissier, Inv. Nr. 356, Pigalle. His life and his work. A short notice taken from original documents, 1907.
[3] Fischer-Hausdorf 2012, p. 24.
[4] Fischer-Hausdorf 2012, pp. 24. For his work, Pigalle was provided with a representative studio in the Louvre and additionally received a pension from the King. Ibid.
[5] Bildakten, George Pelissier, Inv. Nr. 2836, The Mercury and the Venus aux Colombes by J. B. Pigalle. A short notice taken from original documents, 1908.
[6] Falcke 2006. Pp. 170; p. 176.
[7] Bildakten, Lars Eisenlöffel, Inv. Nr. 356, Sculpture description.
[8] Seidel 1893, pp. 42.
[9] Bildakten, Dr. des. Hans-Ulrich Kessler, Inv. Nr. 356, letter of Dr. des. Hans-Ulrich Kessler to Prof. Dr. h.c. Klaus Dieter Lehmann (17.02.2006). Another theory posits that Mercury’s role as the god of commerce had symbolic significance in the context of the donation. Mercury may have been intended to represent the willingness of the French court to engage in negotiations for a trade agreement with Prussia. By the end of September 1750, discussions were already underway, ultimately leading to a trade agreement between France and Prussia in 1753. Falcke 2006, p.177.
[10] Tarbé 1859, p. 43.
[11] Falcke 2006, p. 174; Tarbé 1859, pp.41. Seidel reported on how even Voltaire expressed his sentiments regarding the whereabouts of the sculptures in a letter to Pigalle dated 1763.: „Il y a longtemps, Monsieur, que j’ai admiré vos chefs d’oeuvre qui decorent un palais du roi de Prusse et qui devraient embellir la France.“ Seidel 1893, p. 42. Translated: „It’s been a long time, Sir, since I admired your masterpieces, which decorate a palace belonging to the King of Prussia and which should embellish France.“
[12] Kessler 2008, p. 113.
[13] Sello 1888, p.134. A list of all the sculptures can be found here: Bauten und Plastiken im Park Sanssouci 1987, p.28.
[14] Bildakten, George Pelissier, Inv. Nr. 2836, The Mercury and the Venus aux Colombes by J. B. Pigalle. A short notice taken from original documents, 1908.
[15] Seidel 1893, p. 42. M. de Maupertuis wrote in a letter to Frederick the Great: “Je vis, Sire, à Paris, les statues qui vous sont destinées. Elles sont toutes d’une grande beauté. Mais il y a surtout un Mercure attachant son aile au talon qui n’a guère son pareil au monde.“ Tarbé 1859, p. 42.
Translated: „In Paris, Sire, I saw the statues intended for you. They are all of great beauty. But above all, there is a Mercury attaching his wing to his heel, which has scarcely any equal in the world.“
[16] Original: „[Merkur] ist unstreitig eine der schönsten modernen Statuen, die man nur sehen kann. Pigalle hat die Natur mit aller ersinnlicher Kunst ausgedrückt. Er hat dieser Figur eine überaus schöne und edle Stellung gegeben. Man findet daran ganz und gar nichts gezwungenes, sondern viel mehr Schönheiten, von welcher Seite man sie betrachtet. Der dabei im Sinn gehabte Umstand, ist so glücklich ausgedacht, als geschickt ausgedacht.“ Oesterreich 1775, p. 31.
[17] Sello reports on a list compiled by Schulz in 1811, detailing the deteriorating condition of some sculptures. By that time, Venus was already missing three fingers and three toes, while the Caducaeus of Mercury lacked its head. Sello 1888, p.134.
[18] Hübner 1926, p. 36.
[19] I would like to thank Dr. Silke Kiesant, curator of the Sculpture and Clock collections of the Prussian Palaces and Gardens Foundation Berlin-Brandenburg, for providing me this information (email of 04.12.2023); Amtlicher Führer 2002, p.103.
[20] Ibid. There is occasional mention of a copy of Mercury by “Rauch” (likely referring to Christian Daniel Rauch). Führer Alte und Neue Museum 1888, p.41. It is possible that this refers to the copy by Berges, which was incorrectly attributed here. One possible reason for this attribution could be that Berges was a student of Rauch and worked at his studioFormularbeginn.
[21] The fountain was put into operation in 1842, which meant that the sculptures were exposed to a constant stream of water in addition to the weather. Belani 1843, p. 42; p. 71. The Sculptures also had to be moved further outwards during this time, as the water basin was further enlarged. Sello 1888, p. 134.
[22] Führer Alte und Neue Museum 1888, pp. 40; Krahn 2021, pp. 281.
[23] Krahn 2021, pp. 37, pp. 259. Up to this point, only a few modern sculptures had been presented in the museum. However, due to the large number of new acquisitions during this time period, it was now necessary to display the modern sculptures in a new way. Ibid.
[24] Ibid. p. 282.
[25] Ibid. p. 282; Führer Alte und Neue Museum 1888, pp.40. In this area as well, it appears that Mercury was relocated multiple times and shifted between various rooms within the museum. Ibid.
[26] Bildakten, George Pelissier, Ident. Nr. 2836, The Mercury and the Venus aux Colombes by J. B. Pigalle. A short notice taken from original documents, 1908.
[27] Krahn 2021, p. 38.
[28] Schulz 2006, pp. 15; Bode 1930, pp. 131; pp. 148.
[29] Bode 1930, pp. 150.
[30] Ibid. p. 150.
[31] Ibid. Original: „das weitherzigste Entgegenkommen“ Ibid.
[32] ZA, I/SKS 97, Letter, 07.04.1902; 11.05.1902.
[33] Bildakten, Jeannette Falcke, Inv. Nr. 2836, letter of Jeannette Falcke to the Bode-Museum (24.06.2003).
[34] These towers served both as air defense structures and as bunkers. The bunkers were heavily fortified and used, among other purposes, for the accommodation and secure storage of various artworks.
[35] ZA, I/SKS 147, Report, 06.08.1941.
[36] Ibid.; 10.08.41.
[37] Among other things, the map depot of the Federal Foreign Office was housed in the museum, and large quantities of wood were used for an exhibition by the Marine Department. Additionally, wood was utilized to secure the remaining artworks. ZA, I/SKS 147, Report, 15.04.42.
[38] Ibid.
[39] ZA, I/SKS 147, Report, 24.04.1942.
[40] ZA, I/SKS 147, Report, 12.06.1942.
[41] Ibid.; 18.06.42. In these requests, the sculptures are often mistakenly referred to as “Mars and Venus” instead of “Mercury and Venus.” Ibid.
[42] ZA, I/SKS 147, Report, 24.06.1942.
[43] Ibid. Listing of artworks, 1944; 1945.
[44] ZA, I/SKS 148, Report, 25.11.1948.
[45] ZA, I/SKS 134, Listing of recovered artworks, 1946.
[46] ZA, I/SKS 148, Report, 25.11.1948.
[47] ZA, I/SKS 139, Catalogue of the exhibition in Leningrad, 1957.
[48] I would like to thank the Directors Office of the State Hermitage Museum and Anna N. Aponasenko, Deputy head of the Sector for exhibition documentation, for providing me this information (email of 05.12.2023).
[49] Ibid.; ZA, I/SKS 139, Catalogue of the exhibition in Leningrad, 1957.
[50] Ibid.
[51] Berlin 1958.
[52] Berlin 1958. The listing of Mercury and Venus as German sculptures seems peculiar, as the inscriptions clearly attribute them to the French sculptor Pigalle. This attribution might be connected to their former intended function as a gift for Frederick the Great.
[53] Hühns 1980, pp. 72.
[54] Fründt 1968, p.163.
[55] Bildakten, Inv. Nr. 356, Information sheet.
[56] Bauten und Plastiken im Park Sanssouci 1987, p. 27.
[57] Knuth 1990, p.341.
[58] Werner 2010, pp. 265.
[59] Bildakten, Dr. des. Hans-Ulrich Kessler, Inv. Nr. 356, letter of Dr. Hans-Ulrich Kessler to Jeannette Falcke (01.07.2003). At that time, they were also submitted (once again) for molding at the Restoration Workshops of the Prussian Palaces and Gardens Foundation. Bildakten, Prof. Dr. Peter-Klaus Schuster, Inv. Nr. 2836, Loan agreement (28.10.2004).
SOURCES
Archives
Berlin, Bildakten des Bode-Museums – Staatliche Museen Berlin, Jean-Baptiste Pigalle, Merkur, Inv. Nr. 356.
Berlin, Bildakten des Bode-Museums – Staatliche Museen Berlin, Jean-Baptiste Pigalle, Venus, Inv. Nr. 2836.
ZA = Berlin, Zentralarchiv der Staatlichen Museen zu Berlin, I/SKS 97 Aufstellung der Standbilder der preußischen Feldherren im Kaiser-Friedrich-Museum (1894, 1902-1905).
ZA = Berlin, Zentralarchiv der Staatlichen Museen zu Berlin, I/SKS 147 Luftschutzmaßnahmen der Abteilung (1941-1945).
ZA = Berlin, Zentralarchiv der Staatlichen Museen zu Berlin, I/SKS 148 Verbleib der Kunstwerke der Skulpturensammlung nach dem Zweiten Weltkrieg (1945-1949).
ZA = Berlin, Zentralarchiv der Staatlichen Museen zu Berlin, I/SKS 136 Bergung von Kunstwerken (1957).
ZA = Berlin, Zentralarchiv der Staatlichen Museen zu Berlin, I/SKS 137 Bergung von Kunstwerken (1946, 1957).
ZA = Berlin, Zentralarchiv der Staatlichen Museen zu Berlin, I/SKS 134 Bergung von Kunstwerken (1946).
ZA = Berlin, Zentralarchiv der Staatlichen Museen zu Berlin, I/SKS 139 Katalog der Leningrader Ausstellung o.D. (1957).
Bibliography
Belani, H.E.R. (Karl Ludwig Häberlin). Geschichte und Beschreibung der Fontainenanlage in Sanssouci. unter Friedrich dem Großen und seiner Majestät dem Könige Friedrich Wilhelm IV. Potsdam 1843.
Bode, Wilhelm. Mein Leben. Edited by Thomas Wolfgang Gaehtgens and Barbara Paul, no. 1, Berlin 1997 [1930].
Falcke, Jeannette. Studien zum diplomatischen Geschenkwesen am brandenburgisch-preußischen Hof im 17. und 18. Jahrhundert. Quellen und Forschungen zur Brandenburgischen und Preußischen Geschichte, no. 31, Berlin 2006.
Fischer-Hausdorf, Eva. Monumente der Aufklärung. die Grab- und Denkmäler von Jean-Baptiste Pigalle (1714 – 1785) zwischen Konvention und Erneuerung. Berliner Schriften zur Kunst, no. 25, Berlin 2012.
Fründt, Elisabeth. Skulpturen-Sammlung. In: Forschungen und Berichte, no. 11, 1968: 163-164.
Hübner, Paul Gustav. Schloss Sanssouci. Berlin 1926.
Hühns, Erik. Dokumentation zum Wiederaufbau der Staatlichen Museen zu Berlin nach der Befreiung vom Faschismus. In: Forschungen und Berichte, no. 20, 1980: 27-42.
Kessler, Hans-Ulrich. Venus und Merkur. In: Skulpturensammlung im Bode-Museum, 3rd ed., Munich, Berlin, London, New York 2008: 112-113.
Knuth, Michael. Jahresberichte der Museen und Sammlungen für 1986 und 1987. In: Forschungen und Berichte, no. 29, 1990: 327-344.
Krahn, Volker. Von Italien nach Preußen. Die Entstehung der Skulpturensammlung im königlichen Museum 1820-1870. In: Jahrbuch der Berliner Museen, no. 62, 2021: 37-38, 280-282.
Oesterreich, Matthias. Beschreibung und Erklärung der Grupen, Statuen, ganzen und halben Brust-Stücke, Basreliefs, Urnen und Vasen von Marmor, Bronze und Bley, sowohl von antiker als moderner Arbeit, welche die Sammlung Sr. Majestät, des Königs von Preussen, ausmachen: Nebst beygefügten historischen Erläuterungen, und Anmerkungen über die neuern Künstler, welche für Sr. Majestät gearbeitet haben. Berlin 1775.
Schulz, Bernhard. Vom Kaiser-Friedrich Museum zum Bode-Museum, In: Das Bode-Museum. Schatzkammer der Könige, 2nd ed., Berlin 2007: 15-30.
Seidel, Paul. II. Friedrich der Große als Sammler von Gemälden und Skulpturen. In: Die Ausstellung von Kunstwerken aus dem Zeitalter Friedrichs d. Gr. zu Berlin, Berlin 1893: 19-46.
Sello, Georg. Potsdam und Sanssouci. Forschungen und Quellen zur Geschichte von Burg, Stadt und Park. Breslau 1888.
Tarbé, Louis Hardouin Prosper. La vie et les oeuvres de Jean-Baptiste Pigalle. Sculpteur. Paris 1859.
Werner, Wolf-Dietrich. Die Generalinstandsetzung des Bode-Museums 1992-2005. Zahlen, Fakten, Analysen. In: Bode-Museum. Architektur – Sammlung – Geschichte, 2nd ed., Berlin, Munich 2010: 264-271.
Guides and Catalogues
Amtlicher Führer. Bauten und Bildwerke im Park Sanssouci. 2nd ed., Potsdam 2002.
Bauten und Plastiken im Park Sanssouci. Potsdam-Sanssouci 1987.
Berlin 1958: Schätze der Weltkultur von der Sowjetunion gerettet. Catalogue of the Exhibition(Berlin 1958-1959). Berlin 1958.
Führer durch das Alte und das Neue Museum, 7th ed. Berlin 1888.
Führer durch das Alte und das Neue Museum, 9th ed. Berlin 1894.
|
Cite as: Tara Neugebauer, 1904: Jean-Baptiste Pigalle, Mercury and Venus (1748), in: The Lives of Pictures | Das Leben der Bilder, edited by Matilde Cartolari, https://livespics.hypotheses.org/3878, published on 18.07.2025.
|
OpenEdition suggests that you cite this post as follows:
Matilde Cartolari (ed.) (July 18, 2025). 1904: Jean-Baptiste Pigalle, Mercury and Venus (1748). The Lives of Pictures | . Retrieved December 9, 2025 from https://doi.org/10.58079/14e3e

