Hans Hubert Dietzsch-Sachsenhausen, Handgranatenwerfer


Price: € 17.000


‘Handgranatenwerfer’ (‘Grenade Thrower’)
Bronze, height 72 cm, created 1923.
‘Handgranatenwerfer’ is a typical theme of totalitarian art.

Smaller, but identical in form to Dietzsch-Sachsenhausen’s World War I memorial: ‘Regimentsdenkmal 1914-1918 des 4. Garde-Regiment zu Fuß’ (‘Handgranatenwerfer’), Berlin-Tiergarten, am Schloss Bellevue. This memorial, a commemoration of the 4th Garde-Regiment of foot and its related regiment the Reserve-Infanterie-Regiment 93, was revealed in 1924 and demolished in 1945/46.

Hans Hubert Dietzsch-Sachsenhausen, ‘Regimentsdenkmal 1914-1918 des 4. Garde-Regiment zu Fuß’, Berlin-Tiergarten, am Schloss Bellevue, 1925. Photo from the collection of Kaiser Wilhelm II (1859-1941), Huis Doorn, The Netherlands.

Ehrentafel, der im Weltkrieg Gebliebenen, 1931
The memorial by Dietzsch-Sachsenhausen, commemorating the 4th Garde-Regiment of foot and its related regiment the Reserve-Infanterie-Regiment 93, depicted in the book ‘Ehrentafel, der im Welkrieg Gebliebenen’. The book, published in 1931, gives a complete list of all fallen soldiers of both regiments, including ranking, cause of death and the location where they died.
The text below the photo reads: ‘Denkmal d. 4. Gd.-Rgts. z. F. und seines Töchter-Rgts. R.I.R.93. Berlin Schloss Bellevue v. Bildhauer Dietzsch-Sachsenhausen‘.


Left and middle: other historical depictions of the monument ‘Handgranatenwerfer’ by Dietzsch-Sachsenhausen. The text on top of the base reads ‘Ihr Geist Lebt‘ (‘Their Spirits Live with Us’).
Right: ‘Handgranatenwerfer’, depicted in ‘Deutscher Ehrenhain, für die Helden von 1914/18′, Dehain Verlag’, 1931.

German War Art in the Pentagon
‘Very good, outstanding and brilliant in conception…’

House of Representatives, Committee on Armed Services, Investigation Subcommittee, Washington, D.C. , September 23, 1981
At September 23, 1981, the House of Representatives discussed the transfer to Germany of 6.337 pieces of war art that were seized from the German Government by the United States Army in March 1947. Below some remarkable quotes from the discussion.

George William Whitehurst (Member of the U.S. House of Representatives, journalist, professor) about the 6.337 pieces of German war art:
‘They are similar to the military works of art hanging on our own committee and subcommittee rooms. Part of the German collection is on display in the Pentagon…. This is war art, showing the life of German military personnel under the best and the worst conditions, as indeed soldiers, sailors, and airmen of all nations experienced it… ‘Asked by the Chairman about the value of the art: ‘Some of it is very, very good. The large canvas in my office is an outstanding work of art’.

Marylou Gjernes, Army Art Curator, U.S. Army Center of Military History, Department of the Army:
‘..The Air Force similarly favors retention of German war art integral to its museum operations at Wright Patterson Air Force Base, and a small exhibit of paintings that they have in the Pentagon.’…. ‘Some of the paintings and drawings are brilliant in conception and execution. They show by their artistry, color and mood, the spirit of combat, and the desolation, destruction and tragedy of war. There are illustrations of the despair and boredom of the troops…They are a testament to the sensitivity of the artist regardless of nationality. The collection ..is utilized in ongoing exhibition programs and displays to provide a unique view of World War II that supplements and supports the written history of the conflict..’

Extreme scarce work of art

Art works considered as overt propaganda were massively destroyed

In accordance with the Potsdam Agreement of August 1945, the Allied Control Council laws and military government regulations, all collections of works of art related or dedicated to the perpetuation of German militarism or Nazism, were destroyed. Thousands of paintings were considered of ‘no value’ and burned. Around 8,722 artworks were shipped to military deposits in the U.S. In 1986 the largest part was returned to Germany, with the exception of 200 paintings which were considered as overt propaganda: depictions of German Soldiers, war sceneries, swastika’s and portraits of Nazi leaders.

– condition : II   currently under restoration (arm)
– size : height 72 cm. Weight 15,3 kilogram
– signed : at base: ‘Dietzsch-Sachsenhausen 1923’
– type : bronze. Unique model.

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Revealed 5 years after the death of Dietzsch-Sachsenhausen
Hans Hubert Dietzsch-Sachsenhausen, ‘Denkmal für die Gefallenen des 2. Nassauischen Infanterie Regiments 88‘ (‘World War I Memorial for the fallen soldiers of the 2nd Nassau Infantry Regiment 88’). Revealed in the city of Mainz, 23. August 1931.
At 16 January 1927 the ‘Bund Ehemaliger Angehöriger des 2. Nassauischen I.R. Nr. 88.’ decided to erect a war memorial after the design ‘The Granat Thrower’ by Dietzsch-Sachsenhausen. Decided was at 15 April 1928 that the memorial would be placed in Mainz -the previous home base of the Regiment- but only after ‘the Rhine Valley would be free’. According to the Treaty of Versailles, France occupied the Rhine Valley including the city of Mainz, since 1919. Finally the French withdrew on 30 June 1930 and on 23 August 1931, 5 years after the death of Dietzsch-Sachsenhausen, the memorial was revealed.
The monument is destroyed, only the base located at ‘Drususwall’ is left. The inscription reads: ‘Dem Andenken an das 2. Nassauische Infanterie Regiment 88 und seine im Feldzug 1914/18 Gefallenen. In den Reihen des Regiments starben den Heldentod 127 Offiziere 3934 Unteroffiziere und Mannschaften‘.
Left: the memorial by Dietzsch-Sachsenhausen depicted on a postcard.
Right: the memorial depicted (and described) in ‘Das Königl. Preuß. 2. Nassauische Infanterie-Regiment Nr. 88., Deutsche Tat im Weltkrieg 1914 – 1918‘, Walter Rogge, 1936.

The revelation of the memorial on 23 August 1931. Depicted (and described) in ‘Das Königl. Preuß. 2. Nassauische Infanterie-Regiment Nr. 88., Deutsche Tat im Weltkrieg 1914 – 1918‘, Walter Rogge, 1936.

Hans Hubert Dietzsch-Sachsenhausen, ‘Denkmal des Garde Kürassier Regiments‘ (‘Memorial of the German Guard Cuirassier Regiment‘), Heinrich von Kleist Park, Berlin. Height 4 meters (excluding base). Revealed in 1923. Destructed.
The text on top of the base reads: ‘Non Soli Cedit’, the  motto of the Prussian King Friedrich Wilhelm I.  It means ‘der Preussische Adler weicht der Sonne nicht’ (‘The Prussian eagle yields not even to the sun’). ‘The text ‘Non Soli Cedit’ was engraved by his successor King Friedrich II in the façade of the New Palace (1769) in Potsdam.
The Guards Cuirassiers were a heavy cavalry regiment of the Royal Prussian Army. Formed in 1815 as a Uhlans regiment, it was reorganized as a cuirassiers unit in 1821. The regiment was part of the Guards Cavalry Division and fought in the Second Schleswig War, the Austro-Prussian War, the Franco-Prussian War and World War I. The regiment was disbanded in September 1919.
Left: photo depicting the memorial, from the collection of Kaiser Wilhelm II (1859-1941), Huis Doorn, The Netherlands.
Right: the design of the memorial depicted in ‘Velhagen & Klasings Monatshefte’, 1923.

‘Denkmal des Garde Kürassier Regiments‘ by Dietzsch-Sachsenhausen, depicted in ‘Rache und Triumph, -Krieg, Gefühle und Gedenken in der Moderne’, by Loretana de Libero, 2014.

Hans Hubert Dietzsch-Sachsenhausen, ‘Dem Gedächtnis unserer Heldenjugend. Hauptgruppe eines Denkmalentwurfes’ (‘Commemorating our Young Heroes. Design of a war memorial’). The memorial was planned to the fallen young soldiers in Ypres.
Depicted in ‘Velhagen & Klasings Monatshefte’, 1926.

Hans Hubert Dietzsch-Sachsenhausen, ‘3. Garde Ulanen Regiments‘ (‘3rd Guards Uhlan Regiment‘), Potsdam. Revealed 1923. Destructed.
Left: the memorial depicted on a postcard.
Right: the ‘3. Garde Ulanen Regiments‘-monument depicted in ‘Deutscher Ehrenhain, für die Helden von 1914/18′, Dehain Verlag’, 1931.

Photos depicting the memorial, from the collection of Kaiser Wilhelm II (1859-1941), Huis Doorn, The Netherlands.

Hans Hubert Dietzsch-Sachsenhausen, ‘Regimentsdenkmal 1914–18 des Ulanen-Regiment Von Katzler Nr. 2 (Memorial 1914-18 for the Ulahn Regiment Nr. 2), Gleiwitz. Created in 1926. Destructed.
Left: the ‘Regimentsdenkmal 1914–18 des Ulanen-Regiment Von Katzler Nr. 2′ depicted in ‘Deutscher Ehrenhain, für die Helden von 1914/18’, Dehain-Verlag, 1931.
Right: the memorial depicted on a postcard.

Speech of Oberstleutnant Grätz at the unvealing of the monument in 1926.

Hans Hubert Dietzsch-Sachsenhausen, ‘Kreusler Memorial‘, Sachsenenhausen‘.
Created in 1911. Kreusler, German physican and poet, wrote the famous soldier song: ‘König Wilhelm saß ganz heiter‘. He dedicated the patriotic song to his oldest son Reginald, Reserve Lieutenant of the III. Bataillon des preussischen Infanterieregiments 83, and his 20 comrades who fought in the Franco-Prussian War (1870). Later, Kaiser Wilhelm I appointed Kreusler for this song to ‘Geheime Sanitätsrat’.
The bronze eagle carries the coat of arms of the principality Waldeck-Pyrmont (crown, 8-points star and cross). On the front face a bronze portrait of Wolrad Kreusler.

Revelation of Dietzsch-Sachsenhausen’s memorial dedicated to Kreusler, at 8 June 1911. Friedrich, Prince of Waldeck and Pyrmont, and his wife Bathildis, Princess of Schaumburg-Lippe, are  attending the ceremony, as well as Reginald Kreusler, the oldest son of the poet.

Hans Hubert Dietzsch-Sachsenhausen ‘Kreusler Denkmal‘ (‘Kreusler Memorial), 1911. Located in Bad Arolsen. Left: the memorial depicted on a postcard.

Hans Hubert Dietzsch-Sachsenhausen, ‘Denkmal für die Sanitäterkorps‘, 1928 (finshed by Joseph  Gobes). Memorial for the 15.000 fallen Combat Medics. Located in front of the Neue Friedhof, Postdam. Height including base 6,12 meter.
Below: the monument revealed in October 1929. Present were Reichswehrminister Groener, the Chef der Marine Admiral Dr. Raeder, Generalleutnant Hasse and the Ehrenkompagnie der Reichswehr.


Hans Hubert Dietzsch-Sachsenhausen, ‘War Memorial‘, 1923. Location Bad Doberan, monastic church, Bülow-chapel. The memorial is commemorating the 34 fallen members of the Von Bülow family.

Hans Hubert Dietzsch-Sachsenhausen, ‘Bust of Friedrich II or Friedrich der Große‘. Height 47 cm. Bronze, modelled in 1926. Sold by a German auction house in 2016.
Frederic II (1712 – 1786) was King of Prussia from 1740 until 1786. His most significant accomplishments during his reign included his military victories, his reorganization of Prussian armies, his patronage of the arts and the Enlightenment in Prussia, and his final success against great odds in the Seven Years’ War. Frederick was the last titled King in Prussia and declared himself King of Prussia after achieving full sovereignty for all historical Prussian lands. Prussia had greatly increased its territories and became a leading military power in Europe under his rule. He became known as Frederick the Great and was affectionately nicknamed Der Alte Fritz (‘Old Fritz’) by the Prussian and later by all German people.

The bust of Friedrich der Große by Dietzsch-Sachsenhausen, depicted together with Hitler, Hindenburg and Göring in the most prominent section of the 354 pages Lauchhammer catalog, 1938.

Hans Hubert Dietzsch-Sachsenhausen, ‘Der Schritt ins Leben‘ (‘First Step into Life‘). Displayed at the Grosse Berliner Kunstausstellung 1923. Depicted in ‘Velhagen & Klasings Monatshefte‘, 1923.

Hans Hubert Dietzsch-Sachsenhausen, ‘Lenz‘ (‘Spring‘). Displayed at the Grosse Berliner Kunstausstellung 1921. Depicted in ‘Velhagen & Klasings Monatshefte‘, 1921. A cast of ‘Lenz’, signed 1921, was again displayed at the exhibition ‘Hundert Jahre Berliner Kunst’, 1929, organised by the ‘Verein Berliner Kunst’.
Right: a bronze cast of ‘Lenz‘ sold by Bonhams, London, in 2010. Signed ‘1921’, height 42,5 cm.

Left: Hans Hubert Dietzsch-Sachsenhausen, ‘Langstreckenläufer‘ (‘Long-distance Runner‘). Depicted in ‘Velhagen & Klasings Monatshefte‘, 1927.
Right: ‘Langstreckenläufer’ by Dietzsch-Sachsenhausen, depicted in the catalog of Lauchammer Bildguss, 1938.

Left: Hans Hubert Dietzsch-Sachsenhausen, ‘Der Sonne Entgegen‘ (‘Towards to the Sun‘). Displayed at the ‘Grosse Berliner Kunstausstellung’, 1920. Depicted in ‘Velhagen & Klasings Monatshefte‘, 1920.
Right: Hans Hubert Dietzsch-Sachsenhausen, ‘Der Sonne Entgegen‘. Bronze, height 43,5 cm. Sold in 2015 by a German auction house.

A life-size cast of ‘Der Sonne Entgegen’, location unknown. Photo taken in May 1944.

Left: ‘Der Sonne Entgegen‘ by Hans Hubert Dietzsch-Sachsenhausen, depicted in the exhibition catalog of the ‘Grosse Berliner Kunstausstellung 1920’.
Right: View in the ‘Skulpturensaal, Große Berliner Kunstausstellung 1920‘. At the left ‘Der Sonne Entgegen‘.

‘Der Sonne Entgegen’ by Sachsenhausen, displayed on the grounds of the Ausstellunghallen of the exhibition ‘Die Ernährung – Ausstellung für gesunde und zweckmäßige Ernährungsweise’, Berlin, am Kaiserdamm, May 1928.

Hans Hubert Dietzsch-Sachsenhausen, cast of ‘Der Sonne entgegen’. Signed at the base ‘DIETZSCH-SACHSENHAUSEN 1919’, with foundry mark GUSS HEINZE-BARTH BERLIN. Height 188 cm. Sold by a German auction house in 2022.

Left: Hans Hubert Dietzsch-Sachsenhausen. ‘Junge Frau‘ (‘Young Woman‘). Signed on the base: Dietzsch-Sachsenhausen, 1922. Height 82 cm. Sold in 2010 by an auction house in Denmark.
Right: Hans Hubert Dietzsch-Sachsenhausen, ´Geheimrat Prof. August Bier, Berlin´. Depicted is the famous surgeon Professor August Bier, who held the title ‘Geheimrat’, an honorific title which was an award for outstanding contributions in the field of commerce, industry, or medicine. Depicted in ´Velhagen & ‘Klasings Monatshefte’, 1926.

Hans Hubert Dietzsch-Sachsenhausen ‘Bust of Hindenburg’. Height 22,5 cm. Inscribed at the base: ‘nach dem Leben modelliert von Dietzsch-Sachsenhausen’ (‘modeled from life by Dietzsch-Sachsenhausen’).

Hans Hubert Dietzsch-Sachsenhausen, ‘Rossebändiger’ (‘Horse Tamer’), postcard. Date of creation unknown.

The sculptor-actor Hans Hubert Dietzsch-Sachsenhausen, mentioned in a dozen American local newspapers, like the ‘Western Herald’ (Kansas), 19 August 1909, ‘Salt Lake Telegram’ (Utah), 2 July 1909, etc.

Hans Hubert Dietzsch-Sachsenhausen, creator of heroic War Memorials
Hans Hubert Dietzsch-Sachsenhausen (1880-1926), born in Sachsenhausen as the son of a doctor, was a German sculptor, painter and actor. He studied at the Art Academy in Kassel and was a Meisterschüler of the famous sculptor Karl Begas (1845 – 1916). In 1906 Dietzsch-Sachsenhausen settled in Berlin where he opened an atelier in the Neuen Winterfeldstraße 23 and later in the Königin-Augusta-Straße 1.
In these years Dietzsch worked also as actor for the Lustspielhaus in Berlin, a private theater. A dozen of American local newspapers, like the ‘Western Herald’ (Kansas) of 19 August 1909, ‘Salt Lake Telegram’ (Utah) of 2 July 1909, reported about the sculptor-actor Dietzsch, who also created a bas-relief of the artist Matkowsky which was exhibited in Berlin. As actor he played more roles -sometimes together with the Danish actress Asta Nielsen- in the films ‘Der wankende Glaube’ (1913), ‘America to Europe in an Airship’ (1914) and in ‘Sexton Blake’ (1915).
Dietzsch-Sachsenhausen was an excellent horse rider and served in World War I as a passionate Reserveoffizier der Garde Kürassiere (Reserve Officer/ Cavalry Lieutenant of the Guard Currasier Regiment). After he was wounded several times, Dietzsch was appointed to the War Press Department. He was a close friend of Crown Prince Wilhelm (1882 – 1951), the last Crown Prince of the German Empire and the Kingdom of Prussia. After the outbreak of the German Revolution in 1918, both Emperor Wilhelm II and the Crown Prince signed the document of abdication and went into exile in The Netherlands; after 1923 Crown Prince Wilhelm was allowed to return to Germany, his father never went back (later Crown Prince Wilhelm supported Hitler’s rise to power).
Dietzsch-Sachsenhausen created his first war memorial in 1911 (a memorial commemorating the fallen soldiers in 1870-71, located in Sachsenhausen/ Waldeck). Other memorials followed in the years:
– 1923: ‘Memorial of the German Guard Cuirassier Regiment‘, Heinrich von Kleist Park, Berlin. Destructed;
– 1923: ‘3. Garde Ulanen Regiments‘, Potsdam. Destructed;
– 1923: ‘War Memorial‘, Bad Doberan, monastic church, Bülow-chapel;
– 1924: ‘Regimentsdenkmal 1914-1918 des 4. Garde-Regiment zu Fuß’, Berlin-Tiergarten. Destructed;
– 1926: ‘Regimentsdenkmal 1914–18 des Ulanen-Regiment Von Katzler Nr. 2‘, Gleiwitz. Destructed;
– 1926 ‘Dem Gedächtnis unserer Heldenjugend’. Design. Planned to the fallen young soldiers in Ypres;
– 1928: ‘Denkmal für die Sanitäterkorps‘ (finshed by Joseph Gobes), Neue Friedhof, Potsdam;
– 1931: ‘Denkmal für die Gefallenen des 2. Nass. Inf. Regiments. 88‘, Mainz (post. revealed). Destructed.
The last memorial was revealed 5 years after the death of Dietzsch-Sachsenhausen. In 1927 the ‘Bund Ehemaliger Angehöriger des 2. Nassauischen I.R. Nr. 88.’ decided to erect a war memorial after the design ‘The Granat Thrower’ by Dietzsch-Sachsenhausen. However, the actual erection of the memorial in Mainz -the previous home base of the 2. Nassauischen Regiment Nr. 88- was postponed until ‘the Rhine Valley would be free’. The occupation by the French of the Rhine Valley (including the city of Mainz) based on the Treaty of Versailles, ended in 1930. On 23 August 1931, 5 years after the death of Dietzsch-Sachsenhausen, the memorial was revealed.
Photos of three of these -destructed- memorials were found back in the inherited photo collection of Kaiser Wilhelm II (Huis Doorn, The Netherlands).
In 1926 Dietzsch-Sachsenhausen created a bust of ‘Friedrich II‘, King of Prussia from 1740-1786. This popular bust was cast by foundry Lauchhammer in a large edition; the production process of this bronze was depicted in the catalogue of foundry Lauchammer, 1933.
Works by Dietzsch-Sachsenhausen were displayed at many exhibitons of the ‘Grosse Berliner Kunstausstellungen’, including: 1910 ‘Putti‘, 1911 ‘Im Schneetreiben’ and ‘Roda-Roda‘, 1912, 1920 ‘Der Sonne entgegen‘ (Towards to the Sun), 1921 ‘Der Lenz‘ (The Spring), 1922 ’Rosenzeit‘ (Time of the Roses) and 1923 ‘Der Schritt ins Leben‘ (First Step into Life). In 1923 he became a member of the Verein Berliner Künstler. In 1929 his sculpture ‘Der Lenz’ was again displayed at the exhibition ‘Hundert Jahre Berliner Kunst’, organised by the Verein Berliner Kunst. Several works by Dietzsch-Sachsenhausen were depicted in the magazine ‘Velhagen & Klasings Monatshefte’.
Hans Hubert Dietzsch-Sachsenhausen died from pulmonic apoplexie at an age of 46 in Berlin.