This expressive terracotta bozzetto depicts an unknown male saint in a pose of heavenward devotion, his face lifted upward in an attitude of prayer, ecstasy, or divine vision. The figure's body language conveys spiritual rapture—his torso slightly arched, his hands positioned in a gesture of supplication or wonder, his gaze fixed on the celestial realm above. The saint wears flowing drapery that cascades in deeply carved, animated folds, the fabric appearing to move with the intensity of his spiritual experience. The sculptor has captured a moment of profound religious emotion, the saint's features expressing awe and devotion as he communes with the divine.

The spontaneity and vitality of the modeling are characteristic of terracotta bozzetti—preliminary sculptural sketches that allowed artists to work out compositions before executing final works in more permanent materials. The immediacy of terracotta modeling preserved the artist's original creative energy, and the visible marks of the sculptor's fingers and tools reveal the physical process of creation. The malleable clay permitted rapid exploration of pose, gesture, and drapery effects, capturing the fluidity and emotional intensity of the initial conception.

The present terracotta bozzetto, depicting an unknown male saint looking up, was presumably preparatory for a larger sculpture, perhaps an apostle figure intended for a church. The upward gaze might identify specific saints known for their mystical visions or martyrdoms—perhaps Saint Stephen witnessing the heavens opening, Saint Francis receiving the stigmata, or an apostle witnessing the Ascension or Transfiguration. Such figures were commonly created for church decoration, where they would direct the faithful's attention heavenward and exemplify the contemplation of divine mysteries. However, as no connection to existing works has been found yet, it is also entirely possible that this work was intended for the market as an independent sculpture, responding to 18th-century collectors' growing appreciation for bozzetti as works of art revealing the creative process.

This bozzetto forms a compelling pendant to its companion piece depicting a saint pointing downward (height 35.5 cm). Together, the two figures create a visual dialogue between earth and heaven, the material and the spiritual—one saint directing attention downward toward worldly concerns or divine judgment, the other lifting his gaze upward toward celestial glory. This pairing suggests they may have been conceived as part of a larger ensemble, perhaps flanking an altar or arranged in symmetrical pairs within a church interior, their contrasting gestures creating a dynamic interplay of vertical movement.

Jan-Baptist Engelbert Pompe was born in Antwerp in 1743 and was baptized on the day of his birth in the Church of Sint-Walburgis. His father, Walter Pompe (1703-1777), was one of the most important and prolific sculptors in 18th-century Antwerp, and Jan-Baptist trained in his father's workshop, absorbing the technical skills and aesthetic sensibility of the late Baroque tradition. Jan-Baptist's brother Pauwel (1742-1822) also became a sculptor, making the Pompe family one of Antwerp's most significant sculptural dynasties. Jan-Baptist enrolled at the Antwerp Academy of Fine Arts, where he distinguished himself by winning many prizes between 1768 and 1776. His success at the Academy established his reputation as one of the leading sculptors of the younger generation in Antwerp. In the winter of 1772, from January 15 to 17, together with his father and brother Pauwel, he crafted snow sculptures on the Antwerp streets and public squares—a tradition that demonstrated both technical virtuosity and civic engagement, as these ephemeral works provided public entertainment during the cold months.

Together with his father, Jan-Baptist worked on important public commissions, including sculptures for the Middelburg town hall and for the former church on Leeuwenstraat in Rotterdam. These collaborations allowed him to contribute to significant architectural ensembles while developing his own artistic voice. One of his independent works, a Christ figure in ivory, was placed in the Saint Anthony Church in Antwerp, demonstrating his skill in working diverse materials and his importance to the city's religious institutions. Due to the quality of his work, Pompe became a protégé of the Antwerp bishop, Monsignor Cornelius Franciscus de Nelis (1736-1798). This episcopal patronage was significant, as Bishop de Nelis was an important figure in the religious and cultural life of the Austrian Netherlands during the turbulent late 18th century. The bishop's support would have provided Pompe with access to prestigious ecclesiastical commissions and placed him at the center of Antwerp's artistic establishment.

The present bozzetto descended directly from the artist's estate, passing through his family, which suggests it remained in Pompe's possession rather than being delivered to a patron as part of a commission. This provenance supports the possibility that the work may have been created as an independent piece for the market, or that a projected larger commission was never executed. The bozzetto's exceptional state of preservation and the immediacy of its modeling make it a vivid record of Pompe's creative process and his mastery of the sculptural language of late Baroque religious art.