Berlin - Art

Venetian Light from the Inner Landscapes series Abstract impressionist painting inspired by the atmosphere of Venice - a city experienced through light, reflection, and memory. Rath...

“Fountain in the Garden of Eden” is a painterly dialogue between Albrecht Dürer’s images of Adam and Eve and Marcel Duchamp’s Fountain. In this work, the classical narrative merges w...

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...

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...

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 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...

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...

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 ...

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...

(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...

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 ...

Charles Edward Brittan Jr (1870 Plymouth - 1949). High moor landscape in the fog. Gouache, signed at lower left "Charles E. Brittan", 18 x 34.5 cm (passepartout), 45 x 62 cm (frame)....

Franz Iffland (1862 Tempelhof - 1935 Berlin), Javelin thrower, after 1910. Olive-black patinated bronze with cast plinth mounted on a white-veined black marble base (7 cm high). Tota...

Oil on Alu-Dibond, 80 x 200 cm. German artist Doris Marten explores the visual effects created by the harmony between light and color. Lines and the light are the main components of ...

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...

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 ...

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...

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, ...

This vibrant and expressive painting, part of a series dedicated to exotic birds, draws the eye with its rich palette — warm yellows and oranges blend harmoniously with deep blues an...

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...

Blue Edition No.02m is a unique oil on vinyl painting by German contemporary artist Doris Marten, dimensions are 25 × 25 cm (9.8 × 9.8 in). The artwork is signed, sold unframed and ...

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...

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 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...

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...

Johannes Boese (1856 Ostrog - 1917 Berlin), Mutterglück, um 1910. Goldbraun patinierte Bronze auf gegossener rechteckiger Plinthe, montiert auf zweifarbigem Marmorsockel (9,5 cm Höhe...

A vivid, almost tropical-feeling bird is captured in a moment of quiet contemplation. Its plumage is a painterly symphony of warm ochres, golden yellows, turquoise, and deep blues. T...

Soft Morning in Venice from the Inner Landscapes series Abstract impressionist painting inspired by the quiet atmosphere of Venice in the early morning - a moment when the city app...

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 ...

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...

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...

shipped in roll We Were Happy That Day This painting is not a statement, but a memory. It speaks not about constant happiness, but about a moment when happiness already existed — qu...

SOUND AND VISION – Budgies is a unique oil on vinyl installation by German contemporary artist Doris Marten, dimensions are 100 × 100 cm (39.4 × 39.4 in). Every piece is 30 cm in dia...

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...

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...

Light’n’Lines No.36 (Blue in Green) is an abstract painting by contemporary German artist Doris Marten. Oil on Alu-Dibond, 31.5 x 78.7 inches (80 x 200 cm). Doris Marten’s work exp...

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...

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...

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 ...

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...

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...

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 a harmonious combination of pink, fuchsia, and powdery tones, softly transitioning...

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...

Seifert, Victor Heinrich. 1870 Vienna - 1953 Berlin "Young Athlete with Slingshot" "David" Large bronze, dark patinated, signed: Prof. V.H. Seifert Height: 71.5 cm, approx. 85 cm h...

An abstract composition is presented on the canvas, created using the fluid acrylic technique. The painting is built on the flowing movement of paint, creating a sense of depth, text...

Portrait of a young boy, impressionist painting. Dimensions WITHOUT frame in cm 32 x 42

An abstract canvas created with fluid acrylics, built around the rhythm of spirals and circular currents. Against a warm sand-gold ground, large swirling forms unfold in layers of tu...

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...

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...

High Alpine Landscape, Alps. Oil Painting by Otto Werner Henning von Kameke. Kameke was already a captain when he switched to art in 1860, went to Rome a...

Layers Object No. 16 is a unique ink drawings on Alu-Dibond painting by contemporary artist Doris Marten, dimensions are 41 × 91 cm (16.1 × 35.8 in). The artwork is signed, sold unfr...

This artwork is created using the liquid acrylic technique on canvas. The color palette ranges from soft purple and lilac shades to deeper, rich burgundy and red tones. The painting ...

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...

Karin Hauke, Desert Goddess, 1976. Oil on wood, 70 x 50 cm (image size), 73 cm x 53 cm (frame), signed “K. HAUKE” lower right and dated “[19]76.” - Small flaking in the lower area, o...

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...

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 ...

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...

Antique autumn landscape, 1920. Oil painting by August Westphalen. Dimensions without frame. Frame may have minor damage in places.

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...