Berlin - Art

shipped rolled in a tube. I Let Myself Bloom from the series Inner Landscapes This work is part of the Inner Landscapes series, where landscape becomes a reflection of an inner stat...

shipped rolled in a tube. A Place That Knows Me from the series “Inner Landscapes” This painting is part of the Inner Landscapes series — a body of work where landscape becomes a re...

La Promenade shipped in roll (Series: Le Jardin Privé / Your Private Paradise) “Some paths are not meant to lead us somewhere, but to bring us back to ourselves.” This work, titled ...

shipped rolled in a tube. The Air Feels New from the series “Inner Landscapes” This painting is part of the Inner Landscapes series, where landscape becomes a reflection of memory, ...

Where Water Holds the Evening From the series Inner Landscapes There are evenings by the water you never quite let go of. Where Water Holds the Evening is painted from exactly that ...

This work captures a moment of absolute tranquility-a private paradise bathed in light and hidden behind a dense veil of emerald greenery. Horses gathered at the water's edge in the ...

(Series: Le Jardin Privé / Your Private Paradise) “Some doors lead not to rooms, but to states of grace — hidden havens where the soul finally feels at home.” This contemporary paint...

This work is part of the Inner Landscapes series, in which the landscape becomes part of a memory, a lived state, or emotions that cannot be expressed in words and can only be felt. ...

This work emerges at the intersection of a personal journey through Italy and the universal image of the garden as a space of harmony and inner order. The Mediterranean garden here i...

Secrets of the Garden is a contemporary figurative painting capturing a quiet summer moment of rest and intimacy. Two female figures stand together in a garden, suggesting friendship...

shipped in roll “Spring. Awakening” reflects the first quiet shift of the season — a moment when light, color, and space begin to open. Soft layers of pale tones, subtle pinks, and g...

A delicate close-up of a blooming pink peony, built on a subtle play of light and tonal transitions. The petals appear to glow from within, shifting from pale blush to richer raspber...

This work is a meditation on the bird’s-eye view as a rare gift of our time. The ability to observe landscapes from above reshapes not only scale, but perception itself. What for tho...

Superposition from the series “Zero Thinking” This work explores the state where opposite realities coexist. “Superposition” is a moment before the mind chooses. Before logic separat...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on the soft, flowing interweaving of pink, coral, and milky white tones, creating a s...

Two delicate peonies on a deep navy-blue background. It feels as if these two flowers have merged into one — this is love! The painting is created with acrylic on canvas: layered br...

Anton Nelson (i.e. Antoine Joseph van den Kerckhoven) (1849 Brussels - after 1910 ibid.), Bust of a young woman, c. 1890. Patinated bronze on cast base, 30 cm (total height) x 20 cm ...

In this work, naive playfulness meets quiet resilience. The heroine, dressed in polka dots, seems to have stepped out of an old film — part actress, part observer of her own life. "P...

The painting shows an abstract composition of interwoven colorful forms set against a dark background. The background is painted in deep burgundy tones. Broad, semi-transparent brus...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on the intense interaction of saturated pink, coral, and crimson tones, complemented ...

shipped in roll Apple Garden Latte (from the Inner Landscapes series) This work is a visual embodiment of a May morning, a moment when space fills with light, fragrance, and movement...

"Peonies" is a vibrant and expressive painting that captures the beauty and delicacy of blooming peonies. Created with bold, sweeping brushstrokes and a vivid palette, this artwork b...

This emotionally rich painting portrays the quiet presence of a beloved dog beside a woman, capturing a moment of stillness, trust, and unspoken connection. The work reflects the dee...

This piece is filled with a sense of movement and crystalline depth. The liquid acrylic forms soft, wave-like layers that flow into one another, reminiscent of ocean currents. Shade...

Wilhelm Gross (1883 Schlawe - 1974 Oranienburg-Eden), The Prophet, c. 1955. Woodcut on thin laid paper, 43 cm x 23 cm (depiction), 61 cm x 43 cm (sheet size), signed “Dr. Wilh.[elm] Gross” in pencil lower right, inscribed “Orig.[inal] Holzschnitt (Handabdruck)” lower left and inscribed “Aus der ”Ecce homo“ Folge” in the center. - The wide margin with traces of pressing due to the impression, the sitter's left foot with a small purple stain, otherwise in vibrant condition. - The Burden of the Prophet - The large-format woodcut shows a prophet figure that takes up almost the entire height of the sheet. However, instead of seeing something in the distance that is still hidden from our eyes - as is usual in depictions of prophets - the figure has raised his hands in a defensive gesture, as if the prophet is trying to ward off what he has seen. At the same time, however, the position of the arms is an acceptance of the inevitable, which only those who recognize what is to come will have to bear for the time being, which is why the figure in the painting - despite its size - appears almost solitary, alone and exposed to the burden of suffering. In a manner reminiscent of the folds of medieval wooden sculptures...

Henri Honoré Plé (1853 Paris - 1922 Paris), The Victorious David, around1890. Red-brown and brown patinated bronze with terrain plinth mounted on a round base. 42 cm (total height) x...

From the smallest of seeds the tree grows, striving for the skies. Branches form, ramify and blossom in the rhythm of time. The human figure transforms. The elements depend on each o...

An exotic bird is depicted on a 40×40 cm canvas, painted with acrylics. Its plumage shimmers with vibrant shades of green, blue, turquoise, and yellow, creating a sense of living ra...

This painting embodies the dynamics and natural grace of a horse, symbolizing the strength, freedom and pristine beauty of the animal world. The animal's gaze attracts attention - it...

Hermann Prell (1854 Leipzig - 1922 Dresden-Loschwitz). Half-length portrait of a Pharisee, 1885. Sketch for the right-hand figure in the painting Judas Iscariot, 1886. Pencil drawing heightened with opaque white and black chalk on beige-grey wove paper (papier vélin), 34 x 27.8 cm (visible size), 52 x 45 cm (mount), signed, dated and inscribed "H. PRELL 1885 zu 'Judas'". Minor browning, collection stamp on the reverse. - In the shadow of betrayal - About the artwork This painting is the sketch for the head of the Pharisee offering the coins to Judas in one of Herrmann Prell's major works, the painting Betrayal of Judas, completed in 1886. The painting belongs to the Staatliche Kunstsammlungen Dresden and is illustrated in Adolf Rosenberg: Prell, Bielefeld and Leipzig 1901, p. 21 (Fig. 19). It is especially highlighted in Thieme-Becker (vol. 27, p. 376). Hermann Prell, Betrayal of Judas, 1886 The monumental head, which fills the picture and is distinguished by its ornamented robe, is almost a lost profile, which in the executed painting is justified by the Pharisee's turning towards Judas. Despite the fact that the sitter withdraws from the viewer by turning away, it was necessary to artistically elaborate the motivation for the purchase of one of Christ's disciples, which is why the drawing focuses on the expression of the face, while the 'accessories' are treated in a more summary manner. In characterising the face, Hermann Prell performs a balancing act: since the Pharisee, despite his destructive actions, is an actor in the history of salvation, the head must show a dignity appropriate to the event, but at the same time the physiognomy must also bear witness to the scheming attitude that led to the betrayal. To solve this dilemma, Prell draws on the traditional depictions of the heads of the apostles, shading the face to indicate the obdurate darkness of the spirit and moving the base of the nose slightly upwards while the mouth falls away, thus giving a physiognomic expression to the motivation of the action. The fatal drama of the betrayal is expressed in the monumentalisation of the head and in the thunderous white highlights that contrast with the darkness of the chalk. As a study, considered by the artist to be a work in itself, this drawing reveals the pictorial problems and brainstorming of monumental painting. About the artist In 1872 Prell, who was one of the most important exponents of monumental painting of his time, began studying painting with Theodor Grosse at the Dresden Academy of Art and continued with Carl Gussow at the Berlin Academy in 1876. Hans von Marées taught him in Rome in 1878. More influential on his work, however, were Arnold Böcklin and Max Klinger, with whom Prell had been friends since his student days and with whom he worked together on several occasions. Prell's first major work, which established his reputation as a monumental painter, were the frescoes in the banqueting hall of the Architektenhaus in Berlin in 1881/82, commissioned by the state and depicting the different periods of architecture. Prell then went to Italy for two years to study fresco painting. Other major commissions followed. These included monumental frescoes in the town halls of Worms (1884), Hildesheim (1882-92), Gdansk (1895) and Dresden, the staircase of the Silesian Museum of Fine Arts in Breslau (1893/94), the throne room of the German Embassy in Rome (1896-99) and the staircase of the Albertinum in Dresden (1900-1904). From 1886 Prell taught at the academy of arts in Berlin and in 1892 he was appointed professor at the academy of arts in Dresden. His students included Osmar Schindler and Hans Unger...

Tenderness and Power This work reflects on the paradox of strength revealed through vulnerability. The orange blossoms, vivid and luminous against the profound blue background, embod...

An abstract composition is presented on the canvas, created using the fluid acrylic technique. The work is filled with a sense of movement and layered flow, where streams of paint fo...

From the series Zero Thinking “Gravity” examines the moment when form begins to yield — not abruptly, but almost imperceptibly. The work exists in a state of quiet transition, where ...

This painting is created with acrylic on canvas and depicts a realistic peony on a golden background. The flower is rendered in deep burgundy and crimson tones, its velvety petals u...

This piece is created using the fluid acrylic technique, which produces elongated vertical streams of color that flow smoothly into one another. Against a light turquoise background,...

The picture is oils on canvas Giovanni Battista Ruoppolo (1629–1693) was an Italian Baroque painter from Naples, known primarily for his still-life works. He is considered a key fig...

This painting depicts an orchid crafted from paste, giving it volume and texture. The orchid is presented in pearlescent hues on canvas. The background canvas is coated with silver a...

Herbert Richard Max Bodzin (1936 Hohenlimburg - Weyhe 2025), Steel sculpture, 1974. 85 cm (height) x 25 cm (width) x 25 cm (depth), signed “H. Bodzin” on the base plate and dated “[1...

Elegant oil on canvas still life by A. Rudolphi, signed lower left and dating from around 1900. The composition features a delicate arrangement of grapes in a silver bowl, halved pea...

Freedom is always about pure energy and inner strength, and since ancient times, the horse has been its most powerful archetype. In this work, the image of the horse becomes a condui...

Émile Louis Vernier (1829-1887), a beachcomber, oil on canvas Signed to the bottom left corner. Frame: 77 x 103 cm Émile Louis Vernier (1829–1887) was a French painter and lithog...

This artwork is part of the series Return to Herself, dedicated to a woman and her body as a place of return to oneself, to an inner rhythm, rest, and silence. It explores a state in...

Bronze 67,5 cm signed restored Partina original Émile Louis Picault (1833–1915) was a French sculptor known for his dynamic bronze works, often depicting mythological, allegorical,...

This artwork is created with acrylic on canvas and enhanced with gold leaf. On a deep emerald-green background, stylized tulips are depicted. Their petals and leaves are rendered in...

Ary Bitter (1883 Marseille - 1973 Paris), Girl with Kid, around 1930. Green patinated bronze with cast plinth loosely mounted on a white-veined dark green marble base. Dimensions of the plinth: 5 cm (height) x 80 cm (length) x 24 (width), dimensions of the bronze 28 cm (height) x 72 cm (length) x 18 cm (width). Weight of the bronze 18.2 kg, total weight 39.2 kg. Signed “Ary Bitter.” on the plinth and stamped “L N Paris J L” by the foundry Les Neveux de Jacques Lehmann...

shipped in roll “Spring Bloom II” captures a quiet moment of connection between two young women surrounded by blooming spring trees. Soft dresses, fresh greens, and gentle light crea...

George Morland (1763 London - 1804 Brighton). Sheltering from the Storm. Oil on canvas, relined, 37.5 x 29.5 cm (visible size), 53.5 x 45.5 cm (...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on a harmonious combination of pink, fuchsia, and powdery tones, softly transitioning...

The work is created in the fluid art technique using acrylic on canvas. The composition is built on smooth, flowing movements of paint, forming multilayered transitions of pink, mage...

This artwork is created with acrylic on canvas and enriched with gold leaf. On a deep burgundy background, stylized irises are depicted. Their petals and leaves are rendered in gold...

The work is created in the fluid art technique on canvas, where the primary expressive element is the movement of paint. The composition is structured around a dynamic diagonal flow ...

From the series Zero Thinking “Gravity” examines the moment when form begins to yield — not abruptly, but almost imperceptibly. The work exists in a state of quiet transition, where ...

Karl-Heinz Deutsch (*1940 Karlsruhe), Helmet Head, around 2003. Polished and patinated bronze, 23.5 cm (height) x 25.5 cm (length) x 16 cm (depth), weight 4.9 kg. Monogrammed on the ...

The painting presents a dynamic abstract composition built from intersecting geometric shapes and rhythmic graphic elements. Wide diagonal bands and angular lines create a strong sen...

An abstract painting created using the fluid acrylic technique (fluid art). The composition is built around a strong diagonal movement that runs across the canvas. A light turquoise...

The work is created using the fluid acrylic technique and is built on the contrast of deep black, rich green, and bright yellow-gold accents. The composition evokes a powerful natura...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

shipped in roll “Spring Flowers” is built around a memory of early spring days, when the grass turns vivid and saturated, full of life. It captures that moment when everything begins...

The painting presents a bold geometric abstract composition built on the contrast between yellow and black. Wide diagonal bands form sharp angular shapes that intersect across the ca...

Pilgrim No. 37 is a unique oil on vinyl painting by German contemporary artist Doris Marten, dimensions are 30 × 30 cm (11.8 × 11.8 in). The artwork is signed, sold unframed and com...