Heinrich Waderé, Mourning Genius

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Price: on request


‘Mourning Genius’ (‘Trauernde Genius’)

The torch turned upside down symbolizes death, a life extinguished, but it also stands for a soul that is still burning in the afterlife.

In Roman religion, the genius is the individual instance of a general divine nature that is present in every individual person, place, or thing. Much like a guardian angel, the genius would follow each man from the hour of his birth until the day he died. For women, it was the Juno spirit that would accompany each of them.
The Christian theologian Augustine equated the Christian ‘soul’ with the Roman genius, citing Varro as attributing the rational powers and abilities of every human being to their genius.

Left: Heinrich Waderé, ‘Genius des Todes’ (‘Genius of Death’), 1917. Grave of Fallen members of the Beck family in World War I. Located on the Nordfriedhof, Munich. Muschelkalk. Depicted in ‘Heinrich Waderé, ein Münchner Bildhauer der Prinzregentenzeit’, 2011.
Right: Heinrich Waderé, ‘Trauerner Genius, -Bekrönungs-Monumentalgruppe eines Offizier-Ehrengrabes im Nordfriedhofe zu München’). ‘Mourning Genius’, monumental Grave of Honor of an Officer at the Nordfriedhof, Munich’. Depicted in ‘Deutscher Ehrenhain, -Für die Helden von 1914/18’, 1931.  

Heinrich Waderé, Grave-releif of the May-family, 1894. Located on the Südliche Friedhof in Munich. Depicted is a mourning Genius, with a life-tree, a torch turned upsite down, and a closed Book of Life. Depicted in ‘Heinrich Waderé, ein Münchner Bildhauer der Prinzregentenzeit’, 2011.


– condition : II – III *
– size : 60 x 35 x 5,5 cm; weight 5,7 kg
– signed : signed ‘H. Wadere’
– type : electrotype cast

* With some dark-red sections, caused by the combined corrosion of the patina (likely a combination of iron-nitrate, copper-nitrate and other chemicals) and copper, resulting in the red oxide mineral Cu2O, or culprite (most common source of copper oxide is copper-carbonate, CuCO3, which is green in colour).

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Left: Heinrich Waderé, ‘Stillende Mutter’ (‘Beastfeeding Mother’), 1932. Depicted in “Münchener Künstler Köpfe’, 1937.
Right: ‘Stillendes Mutter’ by Waderé, displayed at the ‘Münchener Kunstaustellung 1929 im Glasplast’. Depicted in the exhibition catalog. Later in 1936 again displayed at the ‘Grosse Münchner Kunstausstellung in der Neue Pinakothek’, and at the ‘Herbstausstellung der Nationalsozialistischen Kulturgemeinde im Kunstverein.   

A plaster cast of ‘Stillende Mutter’, signed 1929, in the possession of the Bayerischen Nationalmuseum in München. Depicted in ‘Heinrich Wader’, ein Münchener Bildhauer der Prinzregentenzeit’, 2011. 

Heinrich Waderé, ‘Der Stammhalter’ (‘The Lineage Holder’), 1933. Terracotta, height 47 cm. In the possession of the Bayerischen Nationalmuseum München. Als named ‘Junge Familie’ (‘Young Family’) and ‘Pro Patriae’.

Heinrich Waderé, ‘Pallas Athene, -Ehrengabe der Allg. Deutsch. Kunstgenossenschaft zum 80. Geburtstag des Fürsten Bismarck’. Gift of Honor by the Allg. Deutsch. Kunstgenossenschaft on the occasion of the 80th birthday of Regent Bismarck. Displayed at the ‘Münchener Jahresausstellung 1895’ in the Königl. Glaspalaste; depicted in the exhibition catalog. Bronze, with golden patina. Height 1 meter. In possession of the Bismarck-Museum in Freidrichsruh. The bronze was personally handed over to Bismarck in Friedrichsruh by Heinrich Waderé, who was part of a delegation of artists. At that time Waderé was 30 years old.

Bronze-reliefs on the columns of the Dresdner Bank in Munich
Heinreich Waderé, ‘Modelle für Reliefs der Dresdner Bank in München’. Displayed at the ‘Internationale Kunst-Ausstellung 1908’, München. Shown were were four models for the columns of the Dresdner Bank in Munich: Fischerei (‘Fishing’), ‘Ackerbau’ (‘Agriculture’), ‘Handwerk’ (‘Craftmanship’) and ‘Kunst’ (‘Art’). The four reliefs (and a 5th one named “Tänzerin’) were again displayed at the Grosse Berliner Kunstausstellung 1909.
Left: ‘Fischerei’ and ‘Ackerbau’, displayed in ‘Die Kunst für Alle’, 1913/14.
Right: the ‘Kunst’-relief, depicted in the 1908-exhibition catalog. The ‘Kunst’ relief was in 1922 duplicated by Waderé (and the name changed into ‘Ars’) and sold the newspaper tycon William Randolph Hearst. It is still located at the grounds of Hearst Castle in California. 

Left: Heinrich Waderé, ‘Bust of Woman with Laurel Wreath’, around 1900. Marble, height 34 cm. In the possession of the National Museum of Warsaw.
Right: Heinrich Waderé, ‘Pelikan mit Jungen’ (‘Pelican with Youngsters’), around 1910. In the possession of the Bayerische Staatsgemäldesammlungen/ Neue Pinakothek, München. Bronze, diameter 23 cm.   

Heinrich Waderé, two figures at the entrance of the Augusta Carree-building, Augusta-anlage 32 in Mannheim. At the left ‘Kraft’ (‘Power’), at the right ‘Licht’ (‘Light’).

Left: Heinrich Waderé, ‘Ernst von Posart als Julius Cäsar’. Published in ‘Velhagen & Klasing Monatshefte’, 1913/14. Depicted is Ernst von Possart (1841 – 1921), German actor and theatre director. Possart was born in Berlin and was early an actor at Breslau, Bern, and Hamburg. Connected with the Munich Court Theatre after 1864, he became the oberregisseur in 1875. In 1877 he was made director of the Bavarian royal theatres; from 1887 to 1892 toured the United States, Germany, Russia, and The Netherlands; in 1895 to 1905 was general director of the Bayerische Hoftheater, and in 1901 he opened the Prinzregententheater (‘Prince Regent’s Theatre’).
Right: Heinrich Waderé, ‘Ernst von Possart als Julius Cäsar’. Plastermodel, displayed at the ‘Münchener Jahres-Austellung 1912 im Königlichen Glaspalast.

Heinrich Waderé, ‘Four figures above the portico of the Prinzregententheater’. The statues are symbolizing (from left to right): Music, Singing, Tragedy and Comedy.
The Prinzregententheater is a concert hall and opera house on Prinzregentenplatz in Munich. Initiated by Ernst von Possart, the theatre was built in the Prinzregentenstrasse as a festival hall for the operas of Richard Wagner near an area where a similar project of King Ludwig II had failed some decades before. Named after Luitpold, Prince Regent of Bavaria, the building was designed by Max Littmann and opened 21 August 1901 with a production of Die Meistersinger von Nürnberg by Richard Wagner.
Waderé also created a carara bust of Prinzregent Luitpold which was placed in a niche located in the galley on the groundfloor.

Heinrich Waderé, ‘Denkmal für Richard Wagner‘ (‘Memorial to Richard Wagner‘). Located on the grounds of the Prinzregententheater, München-Bogenhausen. Created in Untersberger Marmor. Revealed in 1913 in presence of King Ludwig III.

Heinrich Waderé, ‘Julia’. Plaster cast, height 55 cm. Signed 9 February 1902. Offered in 2020 by a Czech gallery. A bronze cast of ‘Julia’ was displayed in 1902 at ‘Die Deutsch-Nationale Kunstausstellung zu Düsseldorf’ in the Kunstpalast, at the Grosse Berliner Kunstausstellung, and again in the same year at the ‘Münchener Jahres-Ausstellung’ in the Glaspalast.

Left: ‘Julia’ by Waderé, shown at the 1902-Düsseldorfer exhibition; depicted in ‘Kunst fur Alle’, 1902.
Right: ‘Julia’ by Waderé, depicted in the 1902-Munich exhibition catalog.

Heinrich Waderé, ‘Opfertag 1917, Handgranatenwerfer’ (‘Day of Sacrifice 1917, -Hand Grenade Thrower‘).  Postcard, the text on the backside reads: ‘In the possession of His Majesty the King of Bavaria’.

Heinrich Waderé, ‘Ehrenmal für die Gefallenen der Stadt und die des 1. Jägerbatl. König zu Freisling’. World War I and II Memorial to the Fallen of the city of Freisling and of the 1. Jäger Battalion König.

Heinrich Waderé, ‘Lex und Jus’, figures at the east-façade of the Munich Justizpalast, 1894 – 1896.

Heinrich Waderé, figures on the façade and on top of the building of the former Royal Bank of Bavaria (Königlich Bayerischen Bank), Kardinal Faulhaber Strasse 1, Munich.
Left: thympanon of the building, in the middle ‘Bavaria’, the female personification of the Bavarian homeland, distributing two laurel wreaths to figures representing ‘Gewerbe’ (Industrie) and ‘Handel’ (Trade). The thympanon was displayed at the ‘Münchener Jahres-Ausstellung im KGL. Glaspalast’, in 1900.
Right: Mercurius, God of Trade, by Waderé. One of the two allegoric figures on top of the building. The other figure represents ‘Landwirtschaft und Gewerbe’ (‘Agriculture and Industry’).  

Left: Heinrich Waderé, ‘Grabmal Robert Heinicke’ (‘Grave of Robert Heinicke’), Leipzig. The original figure is from 1907. Robert Heinicke buried his wife and doughter here in 1955. The inscription on the stone reads: ‘Rosen auf das Grab gestreut und des Leids vergessen’ (‘Laying Roses on the Grave and forgetting the Sorrow’).
Right: Heinrich Waderé, ‘Im Rosenpranken’ (‘Glory of Roses’). Original grave figure displayed at the ‘Münchener Jahresausstellung 1907’. Depicted in the exhibition catalog and in ‘Die Kunst für Alle’, 1907.   

Left: Heinrich Waderé, ‘Ehrenmal zu Thalheim’ (‘War Memorial in the city of Thalheim’). Depicted in ‘Deutscher Ehrenhain, -Für die Helden von 1914/18’, 1931.
Right: photo 2016 (www.stuelpners-erben.de)

Left: Heinrich Waderé, ‘Bust of Prince Regent Luitpold Karl Joseph Wilhelm von Bayern‘. Bronze, height 43 cm. Sold by a German auction house in 2012.
Middle: Heinrich Waderé, ‘Luitpold Prinzregent von Bayern‘. Bronze, with regiment inscription. Height 39 cm. Full portrayal of the youthful prince in the uniform of the 1st Field-Artillery-Regiment.
Right: Heinrich Waderé, ‘Portrait of His Majesty Prince Regent Luitpold von Bayern‘. Relief displayed at the  ‘Jubiläums-Ausstellung der Münchener Künstler-Genossenschaft‘, Glaspalast, 1911. Depicted before the title page in the exhibition catalog.

Heinrich Waderé, ‘Bust of Prince Regent Luitpold of Bavaria’, carara marble. 1901. Placed in the Prinzeregententheather. Displayed at the ‘Düsseldorfer Kunstausstellung’, 1902. Depicted in ‘Heinrich Waderé, ein Münchener Bildhauer der Prinzregentenzeit’, 2011. 

Heinrich Waderé, ‘Kriegerdenkmal Eichstätt’. Memorial to the Fallen Soldiers in 1870/71, located next to the Dom in the city of Eichstätt. Revealed at 28 May 1911. Muschelkalk, height: 10 meters. The Lion places his claw on the worldglobe.

Left: Heinrich Waderé, ‘Flora und Fauna’, 1910. Reliefs at the façade of an office building (Geschäftshaus), Sonnenstrasse 14, Munich. Destroyed in WW II. Depicted in ‘Heinrich Waderé, ein Münchener Bildhauer der Prinzregentenzeit’, 2011. 
Right: Heinrich Waderé, ‘One of the two reliefs on the façade of de Deutsche Bank, Lenbachplatz 2, Munich. 1897/98. Sandstone.

Heinrich Waderé, ‘Chloe playing Aulos‘. Bronze, height 64 cm. A plaster cast was displayed at the ‘Münchener Jahresausstellung von Kunstwerken aller Nationen im Königlichen Glaspalast’, 1890. In 1891 ‘Cloë’ was again displayed at the ‘Internationale Kunstausstellung’  organised by the Verein Berliner Künstler. In 1895 the plaster cast was displayed in the ‘Salon des Artistes Francais’ in Paris.
Daphnis and Chloe is an ancient Greek novel written in the Roman Empire, the only known work of the second-century AD Greek novelist and romance writer Longus. Cloe saves her lover by playing the aulos.
The aulos is not a flute; in form and performance the aulos is similar to a clarinet (cylindrical bore) or an oboe (double-reed). The main difference from these modern instruments is that the ancient aulos was almost always played in pairs by the same performer, such that each hand controlled one aulos.

Heinrich Waderé, ‘Dryade und Kentaur’ (‘Dryad and Centaur’), 1909. Bought in 1915 -as fireplace decoration- by Gräfin Von Tattenbach; located in Schloss Weidenkam. Displayed at the ‘X. Internationalen Kunstausstellung im Münchener Glaspalast’, 1909, and displayed at the ‘Grosse Berliner Kunstausstellung’, 1910.
Dryad is a tree nymph or tree spirit in Greek mythology. Drys signifies ‘oak’ in Greek, and dryads are specifically the nymphs of oak trees, but the term has come to be used for tree nymphs in general, or human-tree hybrids in fantasy. They were normally considered to be very shy creatures except around the goddess Artemis, who was known to be a friend to most nymphs.
Left: ‘Dryade’ by Waderé, located in Schloss Weidenkam.
Right: ‘Dryade, displayed at the ‘Grosse Berliner Kunstausstellung’, 1910.

Heinrich Waderé, ‘Ritter Christoph der Kämper von Bayern’ (‘Knight Christoph, the Warrior of Bavaria’). Original designed in 1893 and executed in iron. Given to the Münchener Kunstverein. The figure is lost. Likely displayed as ‘Gothische Ritter‘ (‘Gothic Knight‘) at the ‘Internationale Kunst-Ausstellung im GKL. Glaspalaste’, Munich, 1891. 
Below a bronze copy, height 50 cm. 

Left: Heinrich Waderé, ‘Das Grosse Leid, -Seht welch’ein Schmerz kommt gleich meinem Schmerze’ (‘The Great Sorrow’). Displayed at the ‘Münchener Jahres-Ausstellung im KGL. Glaspalast 1916’. Depicted in the exhibition catalog.
Right: Heinrich Waderé, ‘St. Georg, -dekoratives releif’. Displayed at the ‘Münchener Jahres-Ausstellung 1910 im KGL. Glaspalast’. Depicted in the exhibition catalog.

Heinrich Waderé, ‘Sitzende Trauernde mit Rose’ (‘Mourning Woman with Rose’), 1908. Marble. Grave of the Wunnerlich-family, located on the graveyard of the city of Hof, Bavaria (Plauener Strasse 1). Depicted in ‘Heinrich Waderé, ein Münchener Bildhauer der Prinzregentenzeit’, 2011. 

Left: Heinrich Waderé, ‘Tristitia’, grave-memorial. Bronze with Muschelkalk. Displayed at the ‘Münchener Jahres-Ausstellung 1904 im KGL. Glaspalast. Depicted in the exhibition catalog. Again displayed at the Grosse Berliner Kunstausstellung 1908. 
Right: Heinrich Waderé, ‘Ruhendes Mädchen‘ (‘Resting Girl‘), plaster. Displayed at the ‘Deutsche Kunstaustellung München 1930 im Glaspalast‘. Depicted in the exhibition catalog. 

Heinrich Waderé, ‘Die Liebe ist stark wie der Tod’ (‘Love is a strong as Death’). Grave of the Menzel-famliy, 1897. Located on the Alter Südlicher Friedhof, Munich. Depicted in ‘Heinrich Waderé, ein Münchener Bildhauer der Prinzregentenzeit’, 2011. 

Heinrich Waderé, ‘Johannes der Täufer’ (‘John the Baptizer’). Displayed in the ‘Kunstausstellung München 1931’ in the Glaspalast; depicted in the exhibition catalog. The plaster cast was lost in the Glaspalast-fire in 1931. 
Middle and right: a bronze life size cast of ‘Johannes der Täufer’, offered on Ebay in Germany, 2020. Height 190 cm, weight 126 kg. 

Left: Heinrich Waderé, ‘Der Kuss’ (‘The Kiss‘), plaster. Displayed at the ‘Algemeine Kunstausstellung München 1926 im Glaspalast‘. Depicted in the exhibition catalog. Also depicted in ‘Velhagen & Klasings Monatshefte’, 1932.
Right: Heinrich Waderé, ‘Die Quelle’ (‘The Source‘). Plaster. Displayed at the ‘Münchener Kunstaustellung im Glaspalast‘, 1925. Depicted in the exhibition catalog.

Heinrich Waderé, ’Madonna’, plaster. Displayed at the ‘Münchener Jahresausstellung von Kunstwerken aller Nationen im KGL. Glaspalaste’, 1893. Also published on postcards.

Heinrich Waderé, ‘Figure group In Memory of Hermann Brennecke -killed in the Picardy – 6 August 1916’. Bronze, height 49 cm. Signed 2 VII 1919.  Sold in 2010 by a German auction house.

Left: Heinrich Waderé, ‘Non omnis moriar‘ (‘Not all of me shall Die’). Plaster. Displayed at the ’Münchener Kunstausstellung im Glaspalast‘, 1919, together with four other decorative figures: ‘Light’, ‘Power’, ’Self-sacrifice’ and ‘The Offender’. Depicted in the exhibition catalog.
Right: Heinrich Waderé, ‘Sappho’. Displayed at the ‘IX Internationalen Kunstausstellung im Kgl. Glaspalast zu München 1905‘; depicted in the exhibition catalog.
Sappho was an Archaic Greek poet from the island of Lesbos. She is known for her lyric poetry, written to be sung while accompanied by a lyre. In ancient times, Sappho was widely regarded as one of the greatest lyric poets and was given names such as the Tenth Muse and The Poetess. Most of Sappho’s poetry is now lost, and what is extant has mostly survived in fragmentary form; two notable exceptions are the Ode to Aphrodite and the Tithonus poem.

Heinrich Waderé, commemorative plaque located on top of the Zugspitze, dedicated to Josef Enzensperger, the first observer at the Zugspitze meteorological station, and the first to winter the peak alone. The Zugspitze is with 2962 meter Germany’s highest mountain.

Springfield, Massachusetts, USA
Fuller Monument: ‘The Last Greeting’
Woman passing the Door of Death, while scattering rose petals to greet The Living.
Heinrich Waderé, Bronze cemetery sculpture for Winthrop and Elizabeth Bliss Fuller, installed in 1910. Springfield, Massachusetts.

Left: Heinrich Waderé, ‘Der letzte Gruss’ (‘The last Greeting’). Displayed at the ‘Münchener Jahres-Ausstellung 1903 im KGL. Glaspalast’. Depicted in the exhibition catalog.
Right: ‘Der Letzte Gruß’, grave of the Schwarz-family, located at the Evangelischer Friedhof in Augsburg. Signed ‘H. WADERE 1903 GUSS C. LEYRER MÜNCHEN Augsburg’. Executed for the family-grave of Max Schwarz (1848 – 1917), banker in the city of Augsburg. Completed on 14 May 1903. Depicted in ‘Heinrich Waderé,  ein Münchener Bildhauer der Prinzregentenzeit’, 2011. 
Another cast was sold to the widow of Marschall Cutler in New York, in 1910. 

‘Der Letzte Gruss’, the plaster model in the atelier of Waderé, 1903. Depicted in ‘Heinrich Waderé, ein Münchener Bildhauer der Prinzregentenzeit’, 2011. 

Strasbourg, France, ‘Rosa Mystica’, -Biennale di Venezia 1897
Left: Heinrich Waderé, ‘La Rose Mystique’ (‘Rosa Mystica’). The Virgin Mary is referred to by many poetic titles in Christian tradition. Rosa Mystica or Mystical Rose is one such title of Mary. Carara marble, 1895. Located in Saint-Pierre-le-Jeune Catholic Church in the city of Strasbourg. Written on the base: ‘ROSA MYSTICA ORA PRO NOBIS’. The plaster model originates from 1893. Two casts were sold in the USA: a bronze cast to Bishop Schrembs in Cleveland, and a bronze cast to the Franciscan Monastery in New York.
Right: Heinrich Waderé, ‘Rosa Mystica’, plaster model, displayed at the ‘Münchener Jahresausstellung 1894 im KGL Glaspalaste’. Depicted in the exhibition catalog.
Also displayed at the Biennale di Venezia 1897.

Cleveland, Ohio, USA
Heinrich Waderé, ‘Sedes Sapientae’ (‘Seat of Wisdom’). Created in 1925 for the St. Mary Seminary (nowadays The Hitchcock Center for Woman’) in Cleveland, Ohio. The other standing figures, also by Waderé, are the holy Thomas Aquinas and the holy Charles Borromeo.  Created in the atelier of Waderé in Germany in 1925, shipped to America and installed in 1929.
In Roman Catholic tradition ‘Seat of Wisdom’ is one of many devotional titles for Mary, the Mother of God. It refers to her status as the vessel in which the Holy Child was born. In ‘Seat of Wisdom’ icons and sculptures, Mary is seated on a throne with the Christ Child on her lap.

Heinrich Waderé, ‘Sedes Sapientiae’ (‘Seat of Wisdom’). Depicted on a Jubilee Card of 1 November 1925. The text below the sculpture reads: ‘Marie Henri Waderé Professor Cleveland (Ohio) USA’.

Spain, Queen Isabella of Spain
Heinrich Waderé, ‘Sedes Sapientiae’, 1892, terracotta. In the possession of Queen Isabella II of Spain. Bought in 1892 by Maria de la Paz (married to Ludwig Ferdinand von Bayern) for her mother. Maria de la Paz was, like her doughter, a member of the ‘Münchener Künstlerinnen Verein’. Depicted in ‘Heinrich Waderé, ein Münchener Bildhauer der Prinzregentenzeit’, 2011. 


Sao Paulo, Brasil
Heinrich Waderé (‘Henrique Waderé’), large relief located on the  graveyard Cemitério da Consolacao in Brasil. Photo published by Sao Paulo Antiga, 18 April 2018.

Heinrich Waderé, ‘EHRE DER ARBEIT’ (‘Honor of Work’) and ‘FÜR LANGJÄHRIGE TREUE DIENSTE VOM BAYERISCHEN INDUSTRIELLEN VERBAND’ (‘For loyal services for many years from the Bavarian association of industry’). Bronze, silver-plated. Not dated.


Left: Heinrich Waderé, likely around 1900.
Right: Heinrich Waderé, date unknown.

Heinrich Waderé
Heinrich Maria Waderé, born in 1865 in Colmar as the son of stucco-worker, was a German sculptor. From 1879 to 1882 he followed an apprenticeship with the Colmar wood-sculptor Adolph Stein. A state-scholarship enabled him to go to the Munich Art Academy where he studied, from 1885 to 1891, under sculptor professor Syrius Eberle and architect professor Friedrich von Thiersch. In 1890 and 1891, still during his study, he debuted with the figure ‘Cloë’ at prominent art exhibitions in Munich and Berlin, were he was awarded the Golden Medal II Class and die II Golden Prussian Statemedal, -quite extraordinary as these distinctions were seldom given to students. During his years at the Munich Academy he made study trips to Austria, Switzerland, Belgium, Holland, France and Italy. At the end of his study in 1991 Kaiser Willem II awarded him the ‘Great Rome Stipend’. At the end of 1991 Waderé established his own atelier in Munich.
Waderé exhibited his works from 1889 to 1931, more than 4 decades, almost every year in the Munich Glaspalast. Even after the Glaspalast burned down in 1931, he still took part in the ‘Great Munich Art exhibitions’: in 1932 in the Deutsche Museum, and in 1934 and 1936 in the Pinakothek.
At the ‘Grosse Berliner Kunstausstellungen’ he was, almost every year, represented from 1902 to 1913. In 1897 Waderé’s marble ‘Rosa Mystica’ was displayed at the Biennale di Venezia. A year earlier ‘Rosa Mystica’ was awarded the Silver Medal at the ‘Esposición de Bellas Artes é Industrias’ in Barcelona. 
In 1895 Waderé created ‘Pallas Athene’, a bronze with golden patina of 1 meter high; it was a Gift of Honor by the Allg. Deutsch. Kunstgenossenschaft on the occasion of the 80th birthday of Regent Bismarck. The bronze was personally handed over to Bismarck in Friedrichsruh by Heinrich Waderé, who was part of a delegation of artists. At that time Waderé was 30 years old. ‘Pallas Athena’ by Waderé was also displayed at the ‘Münchener Jahresausstellung 1895’ in the Königl. Glaspalaste. The bronze is nowadays in the possession of the Bismarck-Museum in Freidrichsruh. 
For the city of Munich Waderé created numerous sculptures, memorials and reliefs, i.a. the figures on top of the Prinzregententheater, works for the Justizpalast, the Wagner-memorial, figures for the City Hall, the Künstlerhaus, the Bayerische Nationalmuseum, the Deutsche Bank, the Dresdner Bank, Bayerische Staatsbank and the Bayerische Börse. Waderé also created many figures and reliefs for public buildings, and war memorials, in other German cities, among them: Aschaffenburg, Augsburg (i.a. Fugger Palais), Dresden, Düsseldorf, Frankfurt, Garmisch (Spitalkapelle), Geislingen, Hannover, Mannheim, Kleve, Nürnberg (Handelskammer), Starnberg, Stuttgart (St. Elisabeth), Würzburg (i.a. St. Joseph). Outsite Germany works by Waderé can be found in Cleveland (USA), Colmar (France), Gollantsch (Poland), New York (USA), Sao Paulo (Brasil), Salzburg (Austria, -i.a. Mozarteum), San Simeon (USA, -Hearst Castle), Spain (Royal Family), Springfield (USA), Strassburg (France, -Saint-Pierre-le-Jeune Catholic Church, St. Magdalena). Waderé created in total more than 350 works in his life.
In 1900 he was awarded a bronze medal for his works displayed at the Paris World Exhibition. In the same year he started as professor at the Königlichen Kunstgewerbeschule München.
In 1904 he became boardmember of the ‘Allgemeinen Deutschen Kunstgenossenschaft’ and member of of the Zentraljury of the Münchener Kunstlergenossenschaft. In 1930 at the Glaspalast-fire he lost his figure ‘John the Baptizer’. In the same year he retired, however in practice he continued his work until 1933. In that year he became member of the NSDAP, and in 1935 member of the Reichskulturkammer. In 1943 Waderé and his wife left Munich and went to Scherwiller in Alsache-Lorraine. In December 1944 Waderé’s house in Munich was bombed, and in May 1945 his art works stored in the city of Freisling (Bavaria) were plundered. In 1946 Waderé and his wife came back to Bavaria, and lived in a retirement home near Schliersee.
Heinrich Waderé died in 1950.