German school, 18th century
Mercury
boxwood
height 28 cm
Further images
This finely carved boxwood sculpture depicts Mercury, the messenger god of Roman mythology, in an elegant contrapposto pose. The figure is seated on a naturalistic tree stump base, his idealized...
This finely carved boxwood sculpture depicts Mercury, the messenger god of Roman mythology, in an elegant contrapposto pose. The figure is seated on a naturalistic tree stump base, his idealized nude form rendered with exceptional anatomical precision and fluidity. Mercury is identifiable by his distinctive attributes: the winged petasus (traveler's hat) adorning his head and the caduceus (a herald's staff entwined with two serpents) held in his left hand. A flowing cloak drapes across his back and lap, its fabric carved with remarkable attention to the play of light and shadow across its folds.
The sculpture exemplifies the 18th-century German tradition of small-scale boxwood carving, a craft that flourished particularly in southern Germany and Austria during this period. Boxwood (Buxus sempervirens), prized for its fine, even grain and warm honey-colored patina, was the material of choice for sculptors creating works of exceptional detail. The wood's density allowed for crisp, precise carving of delicate features—note the careful rendering of Mercury's Classical features, the individual locks of his hair, and the feathers on his winged cap. The smooth, lustrous surface that characterizes aged boxwood gives the figure a tactile warmth absent in marble or bronze.
The sculpture bears an apocryphal signature on the reverse, a not uncommon practice in the art market that speaks to the work's quality and the desire to attribute it to a known master. However, the piece stands on its own merits as an accomplished example of German cabinet sculpture from the period. [1] The 28-centimeter height places it firmly within the tradition of Kleinplastik—small-scale sculpture intended for display in private collections and Kunstkammern (cabinets of curiosities), where such refined works could be appreciated at close range.
The subject matter reflects the 18th-century fascination with Classical mythology, particularly prevalent in German-speaking lands where interest in antiquity was fueled by publications of archaeological discoveries and the Grand Tour tradition. Mercury, as the swift-footed messenger of the gods and patron of travelers, merchants, and eloquence, was a popular subject for sculptors. The seated pose, while less common than the famous flying Mercury compositions derived from Giambologna's influential 16th-century prototype, demonstrates the sculptor's engagement with Classical models and his adaptation of them to his own artistic vision.
The sculpture's excellent state of preservation and the warm, uneven patination developed over nearly three centuries attest to its quality and careful stewardship. The naturalistic tree stump base, carved with textured bark and organic details, provides both structural support and iconographic significance—Mercury was often associated with the wilderness and pastoral landscapes as a guide and protector of travelers.
END NOTES
[1] We are grateful to Dr. Frits Scholten of the Rijksmuseum Amsterdam for his assistance in cataloguing the present work.