Berlin - Art

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...

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. ...

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...

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 ...

This painting invites the viewer to rise above the noise of everyday life and see the world from a higher perspective. From above, the scene unfolds in serene contrast — the vast, te...

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...

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...

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...

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...

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...

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 ...

"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...

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 ...

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 ...

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...

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...

(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...

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 ...

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...

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...

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,...

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...

"Lion" depicts the majestic presence and serene strength of the lion, a symbol of power and dignity. An expressive palette and textural brushstrokes...

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...

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 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...

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...

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...

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...

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...

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...

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 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...

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 (...

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...

The painting is created on a round canvas using the acrylic pouring technique. The composition is built on a combination of deep crimson, burgundy, and delicate pink shades. The pai...

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...

It is very interesting to observe the cells that are formed in this technique. And the combination of white, pink and burgundy looks very noble. Note: This painting is painted on can...

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 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...

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 ...

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...

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...

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...

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 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...

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 ...

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...

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...

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...

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...

acrylic on canvas shipped in roll Two bouquets left after the evening. They carry traces of conversation, the breath of night, the freshness of air that still remembers warmth. A few...

The triptych is created in fluid acrylic technique and consists of three vertical panels, each measuring 24 × 30 cm. Together they form a unified composition connected by a continuou...

The painting is created using fluid acrylic (acrylic pouring): layers of paint flow freely and form natural gradients, veins, and “cells,” giving a sense of depth and movement. In th...

Walter Helbig (1878 Falkenstein - 1968 Ascona), Adoration of the Magi, 1918. Hand-colored linocut, 30 cm x 22.5 cm (depiction), 50 cm x 35 cm (sheet size), signed “W.[alter] Helbig” in pencil lower right, inscribed “Adoration of the Magi” lower left and dated “1918”. Below this a handwritten dedication “with heartfelt Christmas greetings”. - Paper somewhat darkened and with slight creases, thumbtack holes in the corners - The Rider of the Sun - The 'apocalypse' of World War I brought about a return to sacred art. Walter Helbig belonged to the circle of the 'Brücke' and the 'Blauer Reiter'. With his reinterpretation of religious themes in an expressionist formal language, Helbig shaped an avant-garde neo-sacred art. This is symbolically expressed in the silhouette of the rider against the sun-like yellow background. It refers to the awakening initiated by the Blue Riding, which is now linked back to the sacred. The rider and horse "look" at Mary and the Christ Child, who occupy the entire field. Opposite them are the three kings, the eldest of whom kneels before Christ and offers him a gold-filled casket. The expressionist lines give rise to a tower that rises into the "sun", so that the gift has become a Gothic church, expressing the hope that the fallen world will be resurrected in the name of Christ. This dimension of meaning is emphasized by the magical effect of the color scheme. About the artist In 1895, Walter Helbig began studying at the Dresden Academy of Art, where he became friends with the future Brücke artist Otto Müller, with whom he lived in Dresden from 1903 to 1905. While studying in Italy from 1897 to 1899, he met Arnold Böcklin and Adolf von Hildebrand. After completing his studies, he first worked for Otto Gussmann, painting churches. From 1905 to 1909 he worked as a freelance painter in Hamburg. In 1909, through the mediation of Otto Müller, Helbig made the acquaintance of artists from the 'Brücke'. In 1910 he exhibited at the founding exhibition of the Berlin 'Neue Sezession'. In the same year, he moved to Switzerland, where, together with Hans Arp and Oscar Lüthy, he founded the 'Moderne Bund' in Weggis, to which Cuno Amiet and Giovanni Giacometti also belonged. At the second exhibition of the 'Moderne Bund' in Zurich in 1911, Henri Matisse and Robert Delaunay were represented alongside artists from the 'Blauer Reiter'. In 1913, Helbig traveled to Paris with Arp and Lüthy. After the dissolution of the 'Moderne Bund', Helbig was represented at the first Dada exhibition in Zurich in 1914. In 1919, he joined the Berlin 'Novembergruppe'. After the devastation of World War I, Helbig turned increasingly to religious themes in his work. In 1924, like many other artists of his time, he moved to Ascona for financial reasons, where he became a naturalized citizen in 1938. There he founded the artists' association "The Great Bear", to which Marianne von Werefkin...

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...