Hugo Rheinhold ...

                            and his Philosophizing Monkey

by Axel Schmetzke

Portrait of Hugo Rheinhold; courtesy of Marion Epstein and Eric Johnson 7, 8

Special event: Shape of the Ape. Exhibition by Klaus Weber at the Andrew Kreps Gallery in New York,
Nov. 3, 2007 - Feb. 2, 2008. For more information, visit the Gallery's Web site.

Table of Contents

Purpose of this site
 

Bibliography

    Written works by Hugo Rheinhold

    References pertaining to Hugo Rheinhold

         General

         Obituaries & biographies

         Rheinhold's monkey

         Other sculptures by Hugo Rheinhold

         Hugo Rheinhold's signature

    Gladenbeck

        Gladenbeck seals

    Works with a similar motif/iconography

    Selected background readings

Exhibitions with Rheinhold's monkey

Pre-1950s bronze manifestations of Rheinhold's monkey

    Bronzes of Rheinhold's "Philosophizing Monkey"--location, physical characteristics,
        foundry etc. (Table 1)

    Bronzes of Rheinhold's "Philosophizing  Monkey"--Summary of Auction Records (Table 2)
    Further information about specific copies

        Lenin's monkey

        "Attersee" monkey

        "Caldecotte's" monkey

          "Pensee de Darwin" (Ward's Natural Science Bulletin, March 1953)

        Ape sculpture on Hainan Island, China

         Monkey incorrectly credited to Gertrude Alice (Meredith) Williams (Edinburgh, c. 1880)

        The monkey at Queens University, Ontario

        My own monkey statuette

Miscellaneous images of Rheinhold's Monkey on the Web

Modern reproduction from original Gladenbeck casting molds

Purpose of this site

Since starting this web site some five years ago,  I have learned that numerous individuals share my interest in the late-19th century German sculptor Hugo (Wolfgang) Rheinhold and his works, particularly his "Philosophizing Monkey Statuette."  This bronze, entitled "Affe einen Schädel betrachtend" (monkey viewing/contemplating a skull), was first exhibited at the Groβe Berliner Kunstaustellung (Great Berlin Art Exhibition) in 1893. Shortly thereafter, the foundry Gladenbeck included this bronze in their production line (s. Gladenbeck Catalog, ca. 1905).

This page serves two functions: to make information on the subject available to interested parties, and to facilitate further research into the artist's life and work, including the "genealogy" of the various bronze manifestations of his "Philosophizing Monkey." In order to facilitate the latter, I started systematizing the information available on pre-1950s versions (a very humble beginning at this time). Readers with access to pre-1950s bronzes are encouraged to contribute to my compilation. (More recent low-quality reproductions are only of marginal interest to me.)

Bibliography

Written works by Hugo Rheinhold

"Was uns eint.".Vortrag, gehalten in der Deutschen Gesellschaft für ethische Kultur von Hugo Rheinhold in Berlin. Ethische Kultur. 2 (31), 1894: 241 - 243.

"Was uns eint." (Fortsetzung). Vortrag, gehalten in der Deutschen Gesellschaft für ethische Kultur von Hugo Rheinhold in Berlin. Ethische Kultur. 2 (32), 1894: 251 - 253

"Was uns eint." (Schluß). Vortrag, gehalten in der Deutschen Gesellschaft für ethische Kultur von Hugo Rheinhold in Berlin. Ethische Kultur. 2 (33), 1894: 258 - 260.

Ethische Kultur, published weekly by the Deutsche Gesellschaft für Ethische Kultur, of which Hugo Rheinhold was a founding member, also includes the following article by H. Rheinhold:  "Wie ich ein anderer Mensch geworden bin. Ein Bekenntnis." Ethische Kultur. 1 (34), 1893: 267 - 269. This article contains a passage, in which the author refers to himself with his first name: "Hans". In light of this self-reference, I had to abandon my initial assumption that this article was authored by Hugo Rheinhold.

References pertaining to Hugo Rheinhold

General

Geil, Bernd, "Im Stadtarchiv auf Spurensuche." Rhein-Lahn-Zeitung, June 6, 2006.

Morgan, Roberta Gordon.  Hugo Rheinhold. 1993 (unpublished). A copy is included in the Special Collection of the Aberdeen Medico-Chirurgical Society library (according to the inventory list put together by its honorary librarian, Alexander Adam, June 2004: http://www.med-chi.co.uk/inventory.doc).

Morgan, Roberta Gordon and Adam G. N. Moore. "Hugo Rheinhold's Monkey." (Dec. 1, 1998). [The first easily accessible article providing information about Hugo Rheinhold's life and work. It was this article that got me started with my own research.]

Hugo Rheinhold. Berlin: H. Boll, 1900. [32 plates with photographs depicting Hugo Rheinhold's studio and sculptures; probably published after the artist's death for friends and family members; three known copies, one of which is in private possession and two of which are located at the Department of Special Collections, Frank Melville, Jr., Memorial Library, State University of New York at Stony Brook; images of some of these plates will soon be posted on this site.]

See also Richter, Jochen and Axel Schmetzke, "Der Philosophische Affe und die Eule der Minerva." and Richter, Jochen and Axel Schmetzke, "Hugo Rheinhold's philosophizing monkey  a modern Owl of Minerva."

"150. Geburtstag Hugo Rheinhold ." Part 12 of  a series by the Stadtarchiv Lahnstein, "Lahnstein hat Geschichte." Rhein-Lahn-Kurier, June 27, 2003. [The article contains one major error. It wrongly claims that the original (entitled, in French, Pensées de Darwin) is located in the Washington County Museum in Hagerstown, Maryland, USA.]

Obituaries & biographies

Penzig, R. "Hugo Rheinhold : Nachruf." Ethische Kultur. 8 (41), 1900: 321.

"Die Beisetzung von Hugo Rheinhold" ... Ethische Kultur. 8 (43), 1900: 343-344 [Column: Aus der Ethischen Bewegung].

"Hugo Rheinhold." Die Gartenlaube. 1. Beilage zum 24. Halbheft, 1900: 2 [includes short text and two images: a portrait of the artist and its sculpture "Am Wege"].

Samuel Kristeller und Hugo Rheinhold. Gedächtnis Rede, am 25. März 1901 im Bürgersaal des Berliner Rathauses gehalten von Wilhelm Foerster. Ethische Kultur. 9 (19), 1901: 145 -149.

"Nachruf!" (Hugo Rheinhold). Allgemeine Zeitung des Judenthums. October 12, 1900. 64 (41): 2.

Obituary (no title). Der Gemeindebote. Beilage zur "Allgemeine Zeitung des Judenthums." October 12, 1900. 64 (41). "Korrespondenzen und Nachrichten" section.

Obituary (no title). Kunstchronik, Neue Folge (NF) 12, 1901, p. 27-28.¹

Einholz, Sibylle, "Rheinhold, Hugo." In Ethos und Pathos. Die Berliner Bildhauerschule 1786-1914. Austellungskatalog, ed. Peter Bloch et al. Berlin: Gebr. Mann Verlag: 1990: 239-240.

Unseren Freunden zum Gedächtniβ. Mittheilungen vom Deutsch-Israelitischen Gemeindebunde, Nr. 54, 1900: 11-15 (cited in JewishEncyclopedia.com; microfilm copie available at Germania Judaica, Cologne, Germany and Universitäts-Bibliothek, Frankfurt/Main, Germany). [Unlike the other obituaries, this piece includes relatively detailed references to Rheinhold's artistic creations.]

A one-page biographical entry about Hugo Rheinhold, authored by I. Singer and S. Mannheimer, is included in the Jewish Encyclopedia, which was originally published between 1901-1906. The unabridged content of this encyclopedia is now freely available at JewishEncyclopedia.com. ¹

Very brief biographical notes are included in

• The Artists of the World. Bio-biographical Index A-Z. Allgemeines Künstlerlexikon. Bio-biliographischer Index A-Z. München/Leibzig: K.G. Saur, 2000. Vol. 8: p. 352.
• Bénézit, E. Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. Paris: Gründ, 1999. Vol. 11: p. 629 ("Rheinold [sic], Hugo Wolfgang").
• Busse, Joachim. Internationales Handbuch aller Maler und Bildhauer des 19. Jahrhunderts. Busse Verzeichnis. Wiesbaden: Busse, 1977.
• Mackay, James. The Dictionary of Western Sculptors in Bronze. Woodbridge, UK: Antique Collector's Club, 1977, p. 317.
• Müller, Herman Alexander and Hans Wolfgang Singer. Allgemeines Künstler-Lexicon : Leben und Werke der berühmtesten bildenden Künstler. Frankfurt a. M. : Literarische Anstalt, Rütten & Loening, 1920. Vol. 4, p. 52.
• Noack, Friedrich. Das Deutschtum in Rom seit dem Ausgang des Mittelalters. Aalen: Scientia, 1974. [Reprint of the 1927 edition published by Deutsche Verlags-Anstalt Stuttgart (Berlin and Leibzig)]. Vol. 2: p. 484.
• Vollmer, Hans (ed.). Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. Leibzig: E.A. Seemann, 1934. Vol. 28: p. 223.

Rheinhold's Monkey

Richter, Jochen and Axel Schmetzke, "Hugo Rheinhold's philosophizing monkey  a modern Owl of Minerva." NTM International Journal of History and Ethics of Natural Sciences, Technology and Medicine. 15 (2), 2007: 81-97.

Derry, J.F., Rheinhold's Philosophizing Monkey. (Pamphlet).  University of Edinburgh Cultural Collections Audit. 2005. University of Edinburgh Museums and Galleries. Julian Derry also created a web page entitled Varieties of Rheinhold's Philosophizing Monkey.

Richter, Jochen and Axel Schmetzke, "Der Philosophische Affe und die Eule der Minerva." In Horst Kant und Annette Vogt, eds., Aus Wissenschaftsgeschichte und -theorie. Hubert Laitko zum 70. Geburtstag überreicht von Freunden, Kollegen und Schülern. Berlin: Berliner Verlag für Wissenschafts- und Regionalgeschichte Dr. Michael Engel, 2005: 11-31. Available online at http://www.wissenschaftsforschung.de/Richter_2005.pdf.

Roberta Gordon Morgan and Adam G. N. Moore (Dec. 1, 1998). "Hugo Rheinhold's Monkey." 

Cumming, R.P., "Art Treasures and Furnishings in the Society's Hall." In Milne, George P.,ed. Aberdeen Medico-Chirurgical Society. A Bicentennial History 1789-1989. Aberdeen University Press, 1989. See pp. 141-142 for section on "Darwin's Monkey." [Cumming quotes a longer statement by G.P. Milne, who, in turn, refers to an "account published in the 'College News' of the Royal College of Surgeons of England," probably in or around 1978. It is conceivable, if not likely, that Milne meant the "College and Faculty Bulletin." I'm in contact with the Curator of the Museum of the Royal College of Surgeons of England, who graciously offered to look for the "College News" article and for other information about their particular monkey bronze (Jan. 8, 2005).]

[Moore, Adam G. N.], "Editor's note" [in response to an inquiry (Letter to the Editor) concerning a monkey figure in the previous issue]. British Medical Students' Journal. 17(3), Fall 1962: p. 86. [The monkey statuette had appeared in issue 2 (Summer 1962), p. 65.] ²

Jochen Richter's book (in German) entitled Rasse Elite, Pathos. Eine Chronik zur medizinischen Biographie Lenins und zur Geschichte der Elitegehirnforschung in Dokumenten (Herbolzheim, Germany: Centaurus Verlag, 2000) includes a discussion of the multi-layered symbolism behind Rheinhold's monkey statuette (see pp. 1-3). See also the same author's article on "Zytoarchitektonik und Revolution - Lenins Gehirn als Raum und Objekt." Berichte zur Wissenschaftsgeschichte, 2000, 23(3): 347-362 (esp. pp. 347-349).

Robert Payne. The Life and Death of Lenin. New York: Simon and Schuster, 1964; Chapter entitled "The Ape and the Skull," pp. 626-633.

Aktien-Gesellschaft Vorm. H. Gladenbeck & Sohn Bildgiesserei. Abteilung B. Werke aus der Neueren Zeit und der Gegenwart. Berlin-Friedrichshagen. Page B65: Affe mit Schädel. [company catalog]¹

Figur "Affe mit Schädel." Die Objekte der Folge 100 (January 14, 2007). Lieb & Teuer. Die Norddeutsche Antiquitäten Show. NDR Fernsehen.

Original Gladenbeck casting moulds¹

Other sculptures by Hugo Rheinhold

Am Wege -- exhibited 1894 at the Groβe Berliner Kunstaustellung; marble; described in Mittheilungen vom Deutsch-Israelitischen Gemeindebunde, Nr. 54, 1900: 11-15; described and interpreted by Lily von Gizycki, "Ein Rückblick auf die diesjährige Berliner Kunstausstellung." Ethische Kultur. 2 (35), 1894: 275-278, see page 278; brief positive comment in Alfred Rosenberg, "Die Grosse Berliner Kunstausstellung, (Part) III," Kunstchronik, Neue Folge V, Nr. 32, 1893/1894 (23. August 1894), pp. 515-519 (see page 518 for comment); Die Gartenlaube, 1. Beiheft zum 24. Halbhelft, 1900: 2; also mentioned by Einholz.

Ausverkauft -- exhibited 1899 at the Groβe Berliner Kunstaustellung; plaster; included in Gladenbeck's catalog; mentinoned by Einholz; image in Berliner Architekturwelt, 1900, Vol. 2 (?): 139.

Barfüssige Marktfrau mit Weidenkorb -- 1899; bronze.

Brunnengrotte mit zwei Wassergottheiten exhibited 1900 at the Groβe Berliner Kunstaustellung; briefly described in Mittheilungen vom Deutsch-Israelitischen Gemeindebunde, Nr. 54, 1900: 14; probably Rheinhold's last artistic creation; image in Berliner Architekturwelt, 1901, Vol.  ?: 137.

Busts

• August Bebel or Ludwig Bamberger

• August Bebel (depicted in Morgan and Moore and Einholz)
• Col. M. von Egidy (mentioned in JewishEncyclopedia.com)
• Prof. B. Fränkel (mentioned in JewishEncyclopedia.com)
• Rheinhold's mother (mentioned in JewishEncyclopedia.com)

Das Dynamit im Dienst der Cultur -- erected in the Nobel-Hof, 1896, acc. to Einholz; cited in Allgemeines Künstler-Lexicon, ed. Wolfgang Singer. Frankfurt a. M.: Literarische Anstalt Rütten & Loening, 1920; Mittheilungen vom Deutsch-Israelitischen Gemeindebunde, Nr. 54, 1900: 14; also referred to by Morgan and Moore.

Die Kämpfer -- mentioned in JewishEncyclopedia.com and Morgan and Moore.

Kampf (plaster) -- listed, without photo, in Katalog. Grosse Berliner Kunstausstellung. Berlin: Rud. Schuster, 1898, No. 1475.

Lesende Mönche -- included in Gladenbeck's catalog; also referred to by Morgan and Moore.

Schnitterin -- included in Gladenbeck's catalog; mentioned in JewishEncyclopedia.com and by Einholz.

Strike -- referred to in Mittheilungen vom Deutsch-Israelitischen Gemeindebunde, Nr. 54, 1900: 14.

Hugo Rheinhold's signature

Pfisterer, Paul. Signaturenlexikon/Dictionary of Signatures. Berlin/New York: Walter de Gruyter, 1999. R300.

Signature on my "monkey statuette."

Gladenbeck

The original monkey statuettes (in three different sizes) were produced by the foundry Gladenbeck in Berlin, which was founded by Carl Gustav Hermann Gladenbeck in 1851. A detailed biography, along with a description of the foundry's history, is provided by Dietrich Nummert, "Bronzene Kunstwerke aus Meisterhand. Der Kunstgieβer Herman Gladenbeck (1927-1918)" in the Berlinische Monatsschrift, 1998, No. 11, pp. 59-61. According to Nummert, the firm, which underwent several ownership configurations, went bankrupt in 1911. The section on "Gladenbeck-Bronzen" at the Website of the Bronzegiesserei Herweg gives a later bankruptcy date: 1926. In addition to a brief company history, this site also contains information on the main steps involved in the creation of bronzes (follow the link to "Arbeitsgänge"). The explanatory text is in German, but the images speak for themselves.¹ (The later bankruptcy date seems more likely. The Kunsthalle Bremen owns a Gladenbeck bronze dated 1914.)

Gladenbeck stamps advertising some of its sculptures (click here for close-ups of these and other Gladenbeck stamps).

Harold Berman's four-volume Abage Encyclopedia (Bronzes, Sculptors & Founders, 1800-1930), published by Abage (Chicago), 1974-1980, depicts, and briefly describes, numerous sculptures cast by the Gladenbeck foundry. Volume I, II,  III and IV include 8, 7, 5 and 15 Gladenbeck sculptures, respectively. Further pieces, including larger statues, are mentioned by Nummert (cited above). Gladenbeck underwent several changes in name and ownership configuration. Unfortunately, the information provided by Berman is too inconsistent (and probably too inaccurate) to allow conclusions about the exact sequence and timing of these changes (see Table: Gladenbeck--name variations, works and dates). Fortunately, Nummert's article sheds some light on the matter:

• 1851    company founded by Hermann Gladenbeck (Berlin, Johannisstraβe 3)
• 1857    move to Berlin, Münzstraβe 19
• 1887    move to Friedrichshagen (Wilhelmstraβe 62 und Seestraβe 9)
• 1888    incorporation as Aktien-Gesellschaft H. Gladenbeck und Sohn (directed by Hermann Gladenbeck
              and sons Oskar and Alfred)
• 1892    disagreement within the firm between the stockholder representatives (Aufsichtsrat/Board of Directors) and
              the Gladenbecks, three of whom (Herman, Oscar and Alfred) served on the company's executive committee
              (Vorstand), resulting in the ousting of the latter and the leaving of all five Gladenbeck family members

• ????-1911 Gladenbeck's Bronzegieβerei (founded by sons Walter and Paul)

--->Note (added 4-3-2004): The above information on the history of Gladenbeck is only partially correct. More in-depth information is provided in the publications by Sprink (2002), Schmidt (2003) and Berger (1988) (cited below). I will rewrite the above section at some point in the near future to reflect in more detail the information provided by these authors.

Further information is likely to be found in the following sources:

• Berger, Ursel. "Die Bronzegießereien Gladenbeck in Berlin. Teil 1." Die Weltkunst (= The World-Art Review = Le Beaux-Art du Monde). 1988, 58 (22) (Nov. 15): 3496-3501.
• Berger, Ursel. "Die Bronzegießereien Gladenbeck in Berlin. Teil 2." Die Weltkunst (= The World-Art Review = Le Beaux-Art du Monde). 1988, 58 (23) (Dec. 1): 3662-3666.
• Berger, Ursel. "Die Bronzegiessereien Gladenbeck in Berlin." In Antiqua '88 Berlin, [Katalog der 17. Verkaufsausstellung von Kunst und Antiquitäten, 26.-30. November]. Berlin: AMK Berlin Ausstellungs-Messe-Kongreβ-GmbH, 1988, not paginated [19 pages long with numerous interesting illustrations].
• Hujer, Marlis, ed. Bildgießerei Gladenbeck - Aufstieg und Niedergang, [Auststellungskatalog]. 1994. [24 p; for sale at the museum's shop of the Heimatmuseum Köpenick for 1 Euro: http://www.heimatmuseum-koepenick.de/hpublik.htm].
• Kieβhauer, Inge und Rolf Kieβhauer. Bronzenes für Berlin. (Friedrichshagener Hefte, ed. Katrin Brandel. No. 38-40). Berlin-Friedrichshagen, 2000/2001 (available at Antiquariat Brandel; reviewed by Jörg Kuhn).
• Schmidt, Martin H. "Berliner Bronzen. Folge 1: Vom Denkmal zur Kleinbronze." Die Weltkunst (= The World-Art Review = Le Beaux-Art du Monde). 2003, 73 (Nov. 1): 1717-1719. [Great introductory article with many references worth pursuing.]

• Schmidt, Martin H. "Berliner Bronzen. Folge 2: Lauchhammer Bildguss." Die Weltkunst (= The World-Art Review = Le Beaux-Art du Monde). 2003, 73 (Nov. 1): 1930-1932.

• Sprink, Claus-Dieter. Die Bronzegießereien Gladenbeck. 2nd, exp. ed. (Friedrichshagener Hefte, ed. Katrin Brandel. No. 20) Berlin-Friedrichshagen, 2002 (available at Antiquariat Brandel).

• Steguweit, Wolfgang. "Die Bronzegießereien Gladenbeck." In Kunst und Technik der Medaille und Münze. Das Beispiel Berlin. (Die Kunstmedaille in Deutschland. Vol. 7). Berlin 1997, pages 235-241 (cited in Bibliographie zur Medaillenkunde Deutschlands, Österreichs und der Schweiz).

Gladenbeck seals

Works with a similar motif/iconography

Humans with skull

• Saint Jerome in his Study, especially works by
  • Albrecht Dürer ¹
  • Marinus van Reymerswale
  • Michelangelo Merisi (Caravaggio) ¹
• Hamlet with Yorick's skull ¹, such as
  • http://library.wustl.edu/units/spec/exhibits/enchant/images/kent1.gif
  • http://www.umass.edu/fac/centerwide/pressRoom/pr_images/hamlet1.jpg 
  • http://www.globesw.org/Special/Hamlet/Hamlet18.htm
• Faust/Faustus ¹
  • Goethe (image only)
  • Marlowe (image only)
• Gustav Eberlein's bust "Goethe bei der Betrachtung von Schillers Schädel (1897)" ⁵
  See also see also Goethe's poem "Bei Betrachtung von Schillers Schädel"
• The "vanitas" motif
  • Frans Hals' Young Man with a Skull (Vanitas)  (image only)
  • Antonio de Pereda's Vanitas
  • Images of other works with the vanitas theme
• Commentary on phrenology
  • Calves' Heads and Brains or a Phrenological Lecture (anonymous); click here for further information.
  • Theodore Lane's "Phrenologist" [for a larger black-and-white image see L'âme au corps, p. 263)
• Andreani Andrea: Woman contemplating a Human Skull (1591)
• Human skeleton contemplating human skull
  • Etching presumably based on illustration by Gericke (ca. 1650)

Human in thinking pose

• Rodin's "The Thinker" ^{1,  2}
• Michelangelo's "Il Pensiero"
• Dürer's "Il Pensiero" (Melencolia I)

Selected background readings

Jewish culture and life in 19th-century Germany

• Gidal, Nachtum T., Jews in Germany. From Roman Times to the Weimar Republic. Köln (Cologne): Könnemann, 1998 (original German edition publ. by Bertelsmann, 1988). See esp. the following chapters: "Toward the Modern Age; the Struggle for Equal Rights" (pp. 112-231) and "The German Empire 1871-1918; Germany my Fatherland--Jewry my Heritage" (pp. 234-315).
• Bilski, Emily D., Berlin Metropolis: Jews and the New Culture, 1890-1918. Berkeley, CA: University of California Press, 1999.
• Lahnstein, Ortsteile Ober- und Niederlahnstein (Rhein-Lahn-Kreis). Jüdische Geschichte / Synagoge. Alemannia Judaica. Last updated 15. October 2006.
• Seibert, Hubertus, "Duldung -- Integration -- Vernichtung -- Erinnerung: Juden in Lahnstein." Hubertus Seibert und Judith Sommer (ed.), Vom kurfürstlichen Ort zur grossen kreisangehörigen Stadt. Die Geschichte Lahnsteins im 19. und 20. Jahrhundert. Lahnstein: Stadt Lahnstein, 1999: pp. 719-752.
• Thill, Hildburg-Helene, Lebensbilder jüdischer Koblenzer und ihre Schicksale. Koblenz: Stadtbibliothek Koblenz, 1987. [Note: Koblenz is located just a few miles away from Oberlahnstein, where Hugo Rheinhold grew up.]
• Karl Schwarz, Die Juden in der Kunst. 2nd ed., Wien: R. Löwit Verlag, 1936.

Jewish immigration to the western frontier of the United States and Jewish life in California (esp. San Francisco) during the second half of the 19th century

• Zomalt, Leslie Meyers. An Exercise in Caution: the Business Activities of the Joseph Seligman Family in the 19th Century American West. Unpublished doctoral thesis. University of California Santa Barbara, 1979.  While the first two chapters are most revealing, interesting bits and pieces of information about the Jewish business community in San Francisco during the second half of the 19th century--a community that Rheinhold must have interacted with during his presence in this city from about 1874 to 1879--are found throughout the dissertation. 

Intellectual and social movements in late 19th-century Germany

• Groschopp, Horst. Dissidenten. Freidenkerei und Kultur in Deutschland. Berlin: Dietz, 1997. See especially the following sections dealing with secular ethics movements, including the "Deutsche Gesellschaft für Ethische Kultur," of which Rheinhold was a prominent member: "Deutsche Kulturgesellschaft: Ethik als Religion" (pp. 126-135); "Ethische Vereine: Ersatzgemeinden und akademische Klubs" (pp. 135-140); "Verein für Ethik als Schulstoff" (pp 216-220); and "Freidenkerische Künstler" (pp. 354-358). Rheinhold's name is mentioned on the following pages: 131, 133f, 357. ¹
• Wolfes, Matthias. "Kronenberg, Moritz." Biographisches-Bibliographisches Kirchenlexikon. Band XXVII (2006). [This pre-print version of Wolfes' contribution includes a rich, detailed bibliography of sources pertaining to the ethical culture movement in Germany, incl. the Deutsche Gesellschaft für Ethische Kultur, of which Hugo Rheinhold was a co-founder.]
• Weir, Todd H. The Fourth Confession: Atheism, monism and politics in the freigeistig movement in Berlin, 1859--1924 (Germany). Dissertation (Columbia University, New York), 2005. Click here for the abstract.  

German artists in Rome

• Noack, Friedrich. Das Deutschtum in Rom seit dem Ausgang des Mittelalters. Aalen: Scientia, 1974. [Reprint of the 1927 edition published by Deutsche Verlags-Anstalt Stuttgart (Berlin and Leibzig)]. See especially Vol. 1, Chapter XI, pp. 592-657: Kunst und Künstlerleben seit 1850.
• Hauptmann, Gerhart. Das Abenteuer meiner Jugend. Zweites Buch. Berlin: S. Fischer, 1937. [See chapters 26-28 (pp. 267-305) of this autobiographical piece, which covers young Hauptmann's stay in Rome (1883/84) as an aspiring sculptor (i.e., before he became a writer), and which provides some insight into the social atmosphere within the Deutsche Künstlerverein zu Rom and the problems that Rheinhold may also have experienced a decade later.]
• Geller, Hans. Deutsche Künstler in Rom. Von Raphael Mengs bis Hans von Marées (1741-1887). Rom: Herder, 1961. [No reference to Rheinhold, but it provides short biographies of German artists in Rom, some of whom lived there at the time of Rheinhold's stay:  the sculptors Heinrich Gerhardt (1823-1915, Joseph von Kopf (1827-1903) and and Arthur Volkmann (1951-1920), as well as the painters Ludwig Seitz (1844-1908), Gustav Müller-Koburg (1828-1901) and Ludwig Heinrich (1829-1897).]

The arts scene in Germany (esp. Berlin) towards the end of the 19th century (with an emphasis on sculptures)

• Bartmann, Dominik (ed.). Berliner Kunstfrühling. Malerei, Graphik und Plastik der Moderne 1888-1918 aus dem Stadtmusem Berlin. [Catalog of the exhibition at the Seedamm-Kulturzentrum Präffikon SZ, 4. Mai bis 13. Juliy1997, and the Stadtmuseum Berlin, Liebeskindbau, 24. Jan. bis 22. March 1998]. Berlin: Verlag G + H, 1997. While this catalog does not make any reference to Rheinhold, it includes three interesting articles that describe the upheaval that swept through the Berlin art scene near the turn of the 19th/20th century:
  • Brauner, Lothar. "Künstler in Berlin 1888-1918. Zur Entwicklung vom Drei-Kaiser-Jahr bis zur Novemberrevolution"; pp. 9-13.
  • Bartmann, Dominik. " '...hinaus in die scharfe Luft.' Zur Institutionsgeschichte der Berliner Moderne"; pp. 14-20.
  • Ursprung, Philip. "Warten auf das Paradies: Die Berliner Kunstwelt in den 1890er Jahren"; pp. 21-24.
• Berger, Ursel. "Von Begas bis Barlach. Bildhauerei im wilhelmischen Berlin." 12. September bis 11. November 1984. Georg-Kolbe-Museum Berlin (Ausstellungskatalog). [This catalog does not mention Hugo Rheinhold.]
• Bloch, Peter. "Berliner Skulpturen zwischen 1790 und 1900." In Wulf Schadendorf (ed.), Beiträge zur Rezeption der Kunst des 19. und 20. Jahrhunderts. [Studien zur Kunst des neunzehnten Jahrhundets. Band 29]. München: Prestel Verlag, 1975: 27-36.
• Bloch, Peter et al. (eds.). Ethos und Pathos. Die Berliner Bildhauerschule 1786-1914. Austellungskatalog, ed. Peter Bloch et al. Berlin: Gebr. Mann Verlag, 1990.
• Bloch, Peter. "Die Berliner Bildhauerei des 19. Jahrhunderts und die Antike." In Willmuth Arenhövel (ed.). Katalog: Berlin und die Antike. Berlin: Deutsches Archäologisches Institut/Staatliche Museen Preußischer Kulturbesitz, 1979: pp. 177-201. (Katalog der Ausstellung "Berlin und die Antike," Berlin, Schloss Charlottenburg, 22. April - 22. July, 1979).
• Bloch, Peter. "Die Berliner Bildhauerei des 19. Jahrhunderts und die Antike." In Willmuth Arenhövel and Christa Schreiber (eds.). Berlin und die Antike. Berlin: Deutsches Archäologisches Institut, 1979: pp. 395-429.(Ergänzungsband zum Katalog der Ausstellung "Berlin und die Antike," Berlin, Schloss Charlottenburg, 22. April - 22. July, 1979).
• Bloch, Peter and Waldemar Grzimek. Das Klassische Berlin. Die Berliner Bildhauerschule im neunzehnten Jahrhundert. Frankfurt am Main, Berlin, Wien: Propyläen-Verlag, 1978. [This book does not mention Rheinhold, but it contains some information about Ernst Herter and Max Kruse, under whom Rheinhold studied.]
• Brehm, Knut, Bernd Ernsting, Wolfgang Gottschalk, and Jörg Kuhn. Stiftung Stadtmuseum Berlin. Katalog der Bildwerke 1780-1920. Köln, Letter Stiftung, 2003. [Contains two references to Hugo Rheinhold.]
• Heilmeyer, A. Die moderne Plastik in Deutschland. Bielefeld: Velhagen & Klaßing, 1903. [Does not include any reference to Rheinhold.]
• Müller, Theodor and Adolf Feulner. Geschichte der Deutschen Plastik. München, F. Bruckmann Verlag, 1953. Especially the last two chapters entitled "Klassizismus" (pp. 599-620) and ""Die letzten hundert Jahre" (pp. 621-639).
• Olbrich, Harald (ed.). Geschichte der Deutschen Kunst 1890-1918. Leibzig: VEB E.A. Seemann, 1988. Particularly the chapters entitled "Zum Charackter der Epoche (pp. 11-21)," "Strukturen Künstlerischen Lebens (pp. 22-44)," and "Plastik" (pp. 216-280). This account of German art history is embedded in a Marxist interpretative framework.
• Radenberg, Wilhelm. Moderne Plastik. Einige deutsche und ausländische Bildhauer und Medailleure unserer Zeit. Düsseldorf: Karl Robert Langewiesche, 1912. [Does not include any reference to Rheinhold.]
• Sauerlandt, Max. Deutsche Bildhauer um 1900. Von Hildebrand bis Lehmbruck. Königstein im Taunus, Leibzig: Karl Robert Langewiesche, 1927. [Umgestaltete Neuausgabe des früheren Bandes "Moderne Plastik"]. Does not include any reference to Hugo Rheinhold.
• see Kieβhauer, Inge und Rolf Kieβhauer. Bronzenes für Berlin. (cited above)
• see Schmidt, Martin H. "Berliner Bronzen. Folge 1: Vom Denkmal zur Kleinbronze." (cited above)

The monkey in the arts

• Artinger, Kai. "Der beobachtete Mensch." in Staatliche Kunstsammlungen und das Zentralinstitut für Kunstgeschichte in München (eds.). Münchner Jahrbuch der Bildenden Kunst. München, 1995. Dritte Folge, Band. 46: pp. 163-174.
• Blühm, Andreas, and Lippincott, Louise. Tierschau. Wie unser Bild vom Tier entstand. Köln: Wallraf-Richartz-Museum & Fondation Corboud, 2007. See esp. pp. 79-114: "Menschen und Affen." [Catalog of an exhibition with the same title. Hugo Rheinhold's monkey sculpture was included. Hugo Rheinhold's monkey sculpture was included.]
• Dance, S. Peter. Woodstock, N.Y.: Overlook Press, 1978. [See esp. Chapter VII, "Mirrors to Ourselves", pp. 148-171.]
• Genge, Gabriele. "King Kong und die weisse Frau. Die Geschichte des Menschen im Bild des Affen." In Hans Körner und Angela Stercken. Kunst, Sport und Körper. 1926-2002. Ostfildern-Ruit: Hatje Cantz Verlag, 2002: pp. 48-67.
• Janson, H.W. Apes and Ape Lore in the Middle Ages and the Renaissance. London: Warburg Institute, University of London, 1952 (Reprint: Nendeln, Liechtenstein: Kraus-Reprint, 1976).
• Luz, Christiana. Das Exotische Tier in der Europäischen Kunst. Stuttgart: Edition Cantz, Institut für Auslandsbeziehungen, 1987. [See esp. the chapter on monkeys, pp. 130-147.]
• Marret, Bertrand. Portraits de l'artiste en singe. Les Singeries dans la peinture. Paris: Somogy éditions d'art, 2001.
• McDermott, William Coffman. The Ape in Antiquity. Baltimore: Johns Hopkins Press, 1938. [Part II of this book catalogs and briefly describes a total of 605 objects (figurines; vases; and paintings, mosaics and reliefs) with a monkey motif. Among the 303 figurines are 74 objects made of bronze, of which several were located in Berlin (The Old Museum, Antiquarium).]
• Lippincott, Louise and Blühm, Andreas. Fierce friends. Artists & Animals in the Industrial Era, 1750-1900. Merrell Pub., 2005. (Catalog of an exhibition organized by the Van Gogh Museum in Amsterdam, The Netherlands, in collaboration with the Carnegie Museum of Art in Pittsburgh, USA.)
• Tompkins, Ptolemy. The Monkey in Art. Wappinger's Falls, N.Y. : Distributed by Antique Collectors' Club, 1994.
• Toynbee, J.M.C. Animals in Roman Life and Art. Baltimore: Johns Hopkins University Press, 1996. [Esp. Chapter III, "Monkeys", pp. 55-60.]
• Yerkes, Robert M. and Yerkes, Ada W. The Great Apes. A Study of Anthropoid Life. New Haven: Yale University Press, 1929. [Chapters 1 through 4 (pp. 1-35) trace the history of knowledge of anthropoids in the western world--from ancient times to the 19th century. Numerous contemporary illustrations are included.]
• Zahlhaus, Gisela. Aus Noahs Arche. Tierbilder der Sammlung Mildenberg aus fünf Jahrtausenden. Mainz, Verlag Philipp von Zabern, 1996. [See pp. 76-79 for monkey sculptures dating back to antiquity.]

The production of bronzes

• Payne, Christoher. Animals in Bronze. Reference and Price Guide. Woodbridge, Suffolk, UK: Antique Collectors' Club, 1986. The second chapter on "The Modelling and Casting Process" (pp. 14-47) provides a good and well illustrated overview of the various casting methods.
• Langland, Tuck. Practical Sculpture. Englewood Cliffs, NJ: Prentice Hall, 1988.

Multiple productions, copies and authenticity in the arts (sculptures and other works of art)

• Hughes, Anthony and Erich Ranfft (eds.). Sculpture and its Reproductions. London: Reaktion Books, 1997. See esp. Chapter 4, Malcolm Baker, "The ivory multiplied: small-scale sculpture in the eighteenth century," pp. 61-78, and Chapter 8, Alexandra Parigoris, "Truth to material: bronze, on the reproducibility of truth," pp. 131-151. (No reference to Gladenbeck in any of the articles.)
• Krauss, Rosalind E., The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Mass.: MIT Press, 1986. See especially the chapters on "The Originality of the Avant-Garde" (pp. 151-170) and "Sincerely Yours" (pp. 171-194).
• Preciado, Kathleen and the Center for Advanced Study in the Visual Art (ed.). Retaining the Original. Multiple Originals, Copies, and Reproductions. Studies in the History of Art. Vol 20. Washington : National Gallery of Art [distributed by the University Press of New England], 1989.

Reception of Darwin's ideas about evolution in the 19th century¹

• Browne, Janet. "Charles Darwin as celebrity." Science in Context. 16 (1/2) 2003: 175-194.
• Browne, Janet. "Darwin in caricature: A study in the popularisation and dissemination of evolution." Proceedings of the American Philosophical Society. 145 (4) 2001: 496-509.¹
• See also L'âme au corps.

Other relevant aspects of the history of science (phrenology, brain research etc.)

• Hagner, Michael. "Skulls, brains, and memorial culture: On Cerebral Biographies of Scientists in the Nineteenth Century." Science in Context. 16 (1/2) 2003: 195-218.
• van Wyhe, John. The History of Phrenology on the Web.
• 1993 Archives Exhibit: Phrenology and the Localization of Brain Function. Cyber Museum of Neurosurgery.
• L'âme au corps. Arts et Sciences. 1793-1993. Paris: Réunion des musées nationaux/Gallimard, 1993. [Exhibition catalog, Galeries nationales du Grand Palais, 19. Oct. 1993 - 24 Jan. 1994. Section 4 ("Le temps de la phrénologie") and Section 5 ("Évolution et symétrie") are particularly pertinent.]
• See also Jochen Richter's work.
   

Exhibitions with Rheinhold's monkey

Shape of the Ape. Exhibition by Klaus Weber at the Andrew Kreps Gallery in New York,
 Nov. 3, 2007 - Feb. 2, 2008.

Tierschau. Wie unser Bild vom Tier entstand. Wallraf-Richartz-Museum & Fondation Corboud in Cologne, Germany, 2007. [See also the catalog citation and the photo of the exhibition room.]

Fierce Friends. Artists & Animals in the Industrial Era, 1750-1900. Van Gogh Museum in Amsterdam, The Netherlands, and Carnegie Museum of Art in Pittsburgh, USA, 2005. [See also the catalog citation.]

Grosse Berliner Kunstausstellung [Great Berlin Art Exhibition]. Berlin, Germany, 1893.

Pre-1950s bronze manifestations of Rheinhold's monkey

Table 1: Bronzes of Rheinhold's "Philosophizing  Monkey"--location, physical characteristics, foundry etc.

Location	Owner [with link to image]	Height (cm)	Plinth/pedestal (cm)	Patina (color)	Foundry	Cast markings/ remarks
Aberdeen, UK	Medico-Chirurgical Society/School of Medicine		bronze (integral part of the sculpture)	brown	Gladenbeck ??	Purchased 1913 in Berlin
Aberdeen, UK	Col. N. Smith, then G.P. Milne, now G.G. Milne	31	bronze (integral part of the sculpture)	brown	Gladenbeck ??	"6291" on bottom;  purchased 1913 in Berlin
Alfriston, UK	private	31**; 7,000g	bronze (integral part of the sculpture)	brown	Gladenbeck ??	"6873" (?) and "JR. 19." or "TR. 19." (?) on bottom
Amsterdam (before in Munnekeburen), The Netherlands	Schrijver	29*, 32,3**	21,5 x 19 (bronze)	brown; skull repainted bone-color	Gladenbeck ??
Calgary, Canada	Private		about square		Gladenbeck ??	"33203" on bottom
Cheshire, England	Malcolm Siddons	ca. 29	about square		Gladenbeck ??	"26039 X"? on bottom
Cottbus, Germany	Private	ca. 10.3	square/round, 7.5 cm high, reddish		"Akt.-Ges. vorm. H.G. & S."  (Gladenbeck)
Edinburgh, UK	University of Edinburgh, School of Biological Sciences	30 (est)	25 x 20 (est.)		Gladenbeck ??
Gloucester, UK	Private	28.5*	21 x 17.5 x 2.8 (marble); 19 x 16 x .8 (bronze)	black/dark brown	Gladenbeck ??	10517 ?
Hagerstown, MD, USA	Washington County Museum of Fine Arts	31	bronze (integral part of the sculpture)	brown	Gladenbeck ??	"JR. 19." or "TR. 19." (?) on bottom
Hamburg, Germany	private (Rheinhold relative)	16.5 (18 with base)	bronze	dark brown	"Aktien Ges. vorm. H.Gladenbeck & Sohn"	family heirloom; letters "IE" or "IF" below "ERITIS SICUT DEUS" quote
Jena, Germany	Ernst-Haeckel-Haus	ca. 30	bronze	dark brown	Gladenbeck ??
Katikati, NZ	Private	29*	21 x 17.5 x 2.5 (marble); 19 x 16 x 1 (bronze)	black/brown	Gladenbeck ??	no foundry mark
Kerikeri, New Zealand	Private	29
Kingston, Canada	Bracken Health Sciences Library, Queen's University	29 ?			Gladenbeck ??
London, UK	Royal College of Surgeons of England	31,5	22 x 19,3 (base);		Gladenbeck ??	13817; no foundry mark 9
(20 m S of) Moscow,  Russia	Gorki Leninskiye		square		Gladenbeck ??
Managua, Nicaragua	Eduardo Miranda, M.D.	29*, 33**	21 x 18 x 3 (marble)	black/dark brown	Gladenbeck ??	27164; purchased 1932 in Berlin
Mexico	Private; currently for sale	ca. 31**; (ca. 20 lbs.)	bronze (integral part of the sculpture)	brown	Gladenbeck ??	43343; in family possession for over 70 years
Oakville, ON, Canada	Private	44.5 ? (53 lbs)				6043, 30842
Orchard Park, NY, USA	Michael S. Albert	28.5 (9.3 kg**)	21 x 18 x 3 (marble); 19.5 x 16.5 x 1 (bronze)		Gladenbeck ??
Osaka, Japan	Takashi Araki	32	21.3 x 19 x cm (bronze, integral part of the sculpture); additional 10 cm tall marble plinth	dark brown	Gladenbeck ??	JB
Oxford (Chinnor)	Nowell Stebbing				Gladenbeck ??
Oxford, Ohio, USA	Private	29*, 32.5**	22 x 19 x 3.5 (bronze, integral part of the sculpture)		Gladenbeck ??	V, 45162
Salem am Bodensee, Germany 1	Affenberg				Gladenbeck ??
Skillman, NJ, USA	Private (Rheinhold relative)	14**			"Akt.-Ges. vorm. H.G. & S."  (Gladenbeck)	family heirloom
Stevens Point, WI, USA	Axel Schmetzke	28.5*	21 x 18 x 2.4 (marble); 19 x 16 x .8 (bronze)	Brown	Gladenbeck ??	AK 31 037
Stevens Point, WI, USA	Axel Schmetzke	10.5	round black-and-white marble	Brown	"Akt.-G. vorm. H.G. & S."  (Gladenbeck)
Tacoma, WA, USA	Private	31.8	22 x 19	Brown	Gladenbeck ??	39246
Toronto, ON, Canada	Private	17 (19 with base)	round marble, 11.8 x 2 cm, black-and-white marble	brown with tan painted skull	"Aktien Ges. vorm. H.Gladenbeck & Sohn"	family heirloom; letters "IE" or "IF" below "ERITIS SICUT DEUS" quote
Unknown****	Private	18.5 (ca. 7kg)	round, 12 x 2 cm, red-brown		Gladenbeck (marked)
Unknown	Private	29	rectangular	Black-Brown	Gladenbeck ??	see Berman, Vol. III.
Vienna, Austria	Private	32-33			Rudier (acc. to owner)	6092
Wisconsin, USA***	Private	29* 33**	21 x 17.5	dark brown	Gladenbeck ??
Woodcliff Lake, NJ, USA	Carol Rennard	29* 33**	21 x 18	dark brown	Gladenbeck (acc. to owner)	16R 2 43
Zürich, Switzerland	Private	19* 21* (2166 g with marble plinth)	about square	brown; grainy surface	unknown	three letters (IEN or IFN) below "ERITIS SICUT DEUS" quote

*       Measured from the top of the bronze platform (integral to the statuette) to the top of the monkey's head.

**     Including base

***   Former location: South America

**** Previously assumed to be at the Boston Medical Library; this assumption was incorrect.

Please help me fill in the blanks in this table or correct the information currently in it. (I will soon add instructions on how to take unambiguous measurements.) If you have any information that would be helpful in this regard, please contact me via e-mail.

Table 2: Rheinhold's "Philosophizing  Monkey"--Summary of Auction Records

Notes and sources:

APA--Art Price Annual (& Folk's Art Price Index)

M    --Mayer (International Auction Records)

ASI --Art Sales Index

*         Illustrated in Auction Catalog.

**       No mentioning of a "monkey" in the auction description; this may be a different piece.

***     Artist (Rheinhold) not mentioned.

****   Phone inquiry

Davenport's Art & Price Guide 2003/2004 provides a US$ 750 estimate for the 12" "monkey" bronze.

FXHistory (Look-up tool for historical currency exchange rates)

Further information about specific copies

Lenin's monkey

Perhaps best knows is "Rheinhold's Monkey" in Lenin's Study, kept intact as a museum within the Kremlin (Senate Building) until the end of the Soviet era. This bronze was given to Lenin by Armand Hammer, who had purchased it at a London antique shop, in 1922 (Armand Hammer, Hammer, New York: Putnam's Sons, 1987, p. 139; Steve Weinberg, Armand Hammer. The Untold Story, Boston: Little, Brown and Co., 1989, p. 49; L. Kunetskaya. Lenin in the Kremlin. Moscow: Novosti Press Agency, 1970?, p23; Mikhail Bruk, cited below.) According to Andrew Stuttaford (2001), in 1994 the statuette was moved to Gorki Leninskiye, Lenin's former country estate some 20 mile south of Moscow, where it is stored in one of the original buildings of the Morozov estate near the Political History Museum.

While Hammer appears to have seen in Rheinhold's figurine simply an illustration of Darwin's theory of man's origin, Lenin supposedly (according to Hammer) gave it the following interpretation: "[T]he sculptor wanted to warn mankind that it might degenerate into the primordial state if people did not put an end to wars and learn to live at peace with one another." (Y. Kashlev. Cultural Contacts Promote Peaceful Coexistence. Moscow: Novosti Press Publishing House, 1974: pp. 5-6).

Robert Payne devotes a short chapter on "The Ape and the Skull" in his book The Life and Death of Lenin (New York: Simon and Schuster, 1964); pp. 626-633. According to an article in Time Magazine (Jan. 29, 1973; "Trying to Hammer a Deal") Hammer, in his negotiations with the Soviets in the early 1970s, "claimed that Lenin had died looking at a present from him. When the flabbergasted Soviets asked how he could possibly know that, Hammer blandly replied that Lenin had died at his desk, on which there was only one object: a bronze statue, given by Hammer, depicting a monkey sitting on a book by Darwin and gazing at a skull." (The article also sets the record straight: "Lenin died in his bed in Gorki, and the desk is crowed with a variety of objects.) For a critica