Berlin - Art

Lithograph image by Fred Thieler handmade paper hand signed Fred Thieler was born on March 17, 1916, in Königsberg. In 1936, he began studying medicine, which he had to abandon in...

Antique Oil Paintig by Willy Belling, Still Life with Flower Vase Signed lower right. Dimension measured with frame. Frame slightly damaged.

Willy Herrmann, sunny hay landscape. Oil on canvas. Summer landscape with sheaves of corn. Dimensions without frame 70.5 x 80.5 cm Dimensions with fram...

signed lower right Oli on cardboard 75x62 cm internal mas 52x 38 cm This work was not examined by the Rehs Galleries in New York. Antoine Blanchard, was born in France on Novem...

Bold print on handmade paper. Fritz Cremer, 1981, lithograph hand signed 77 x 57 cm After graduating from high school, Cremer completed an apprenticeship as a stonemason with Ch...

Eduard Peithner von Lichtenfels (1833 Vienna - 1913 Berlin), Woodland, 1884. Watercolor and pen and ink on drawing paper, 30.4 cm x 22.5 cm, signed, dated and inscribed by the artist...

Gerlinde Beck (1930 Stuttgart-Cannstatt - 2006 Mühlacker-Großglattbach), Untitled, 1973. Series of four serigraphs, 29.8 cm x 29.8 cm, each signed in lead on the front and numbered on the reverse. Sheet 1-3 no. 74/100, sheet 4 no. 48/100. - Corners occasionally slightly bumped, minimal crease, otherwise in very good condition - Dancing Sculpture...

Ruth Schloss (1922 Nuremberg - 2013 Kfar Shmaryahu), Two old people, around 1990. Mixed media on watercolor paper, 33 cm x 38.5 cm, signed “Schloss” lower left and signed again in He...

Ruth Schloss (1922 Nuremberg - 2013 Kfar Shmaryahu), Contemplating old man, around 1990. Mixed media on watercolor paper, 33 cm x 40 cm, signed “Schloss” lower left and again in Hebr...

Ruth Schloss (1922 Nuremberg - 2013 Kfar Shmaryahu), Old man in front of a mirror, around 1990. Mixed media on watercolor paper, 33.5 cm x 40 cm, signed “Schloss” lower left and agai...

Water surface with partial reflections from the trees in the background. Oil on linen. Painted with a lot of paint, applied with brush and palette knife. The edges of canvas are col...

signed oil on cardboard 30x42 cm oil on cardboard signiert Carl-Adam Heinisch (1847 – 1923) was a German painter born in Neustadt in Schlesien and died in Munich. Heinisch is ...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), At the pond, 1897. Algraph on strong wove paper, published by Breitkopf und Härtel in Leipzig as ‘Zeitgenössisches Kunstblatt Nr. 148’, 23....

oil on canvas Signed to the lower left 55 x 71 cm Pelouse is considered an important representative of 19th-century French landscape painting. He influenced a younger generation of ...

Exploring blue monochrome and relaxed repetition. Reflecting the patterns of clouds during the final hour of light before sunset; how they create shadows that fall over each other. ...

This is a beautiful one-of-a-kind original contemporary painting. The piece ships ready to hang with artist signature on the bottom. The item ships from the Germany.

Reinhard Bartsch 1927 Berlin - 1990 Berlin oil on canvas 55x 40 cm signed lower right Reinhard Bartsch (1927–1990) was a German painter and graphic artist, born and active in B...

"Masterpiece of floral elegance by Klaus Clausmeyer" Immerse yourself in a magnificent piece of art history: The oil painting by the renowned German painter Klaus Clausmeyer (1887 -...

Landscape painting, harvest field with windmill and mountains. Dimensions without frame. Frame damaged. Free shipping only without frame.

Reiner Schwarz (*1940 Hirschberg), The Lady with the Dog, 1971. Lithograph, 33 cm x 26 (image), 59 cm x 42 cm (sheet size), signed in pencil at lower right "R.[ein] Schwarz", dated "...

Reiner Schwarz (*1940 Hirschberg), Under the mask of the Venetian girl, 1968. Lithograph, 30 cm x 24 (image), 59 cm x 42 cm (sheet size), signed “R.[einer] Schwarz” in pencil lower r...

Painted plein air in Himmelpfort with watercolor and reservage. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by the artist :: ...

oil on canvas 100x 90 cm unsigned It depicts a woman wearing an ornate hat and is characterized by vivid, unnatural colors and an expressive painting style.

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), Blessed are the spiritually poor, 1948. Woodcut on yellowish wove paper, 20 cm x 15 cm (image), 45 cm x 30 cm (sheet size), signed “Ru...

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), The birds under the sky, 1948. Woodcut on yellowish wove paper, 11 cm x 18 cm (depiction), 43 cm x 30 cm (sheet size), signed “Rud.[ol...

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), The birds under the sky, 1948. Woodcut on yellowish wove paper, 11 cm x 18 cm (depiction), 43 cm x 30 cm (sheet size), signed “Rud.[ol...

oil on canvas signed unknown 55x 45 cm unknown artist

"Cosmic Cloud" is a very atmospheric painting, done as a diptych. There are two canvases, each is 90 cm x 30 cm. In cm the work is 60 x 90 x 1.5 if both canvases are hung directly ne...

Hans Rudolf Bosshard (*1929 Balm-Lottstetten), Twelve variations on a dice theme, 1962. Portfolio with inserted cover sheet and twelve woodcuts on thin Japanese paper. Copy no. 2/10,...

Ivan Sorokin. Honoured Artist of the RSFSR, People’s Artist of the USSR, Member of the USSR Academy of Arts, Winner of the I. E. Repin State prize.

Emil Wachter (1921 Neuburgweiser - 2012 Karlsruhe), Rebekka, 1987. Watercolor mounted on cardboard, 13.5 (height) x 14 cm (width). Signed “E.[mil] Wa[chter]” in pencil within the ima...

young storks in a their nest on roof in Lithuania :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang:...

Painted plein air adding etheric oils on the beach of Kolberg in Poland. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by the a...

Oli on canvas indistinctly signed Modern floral image, origin: Germany.

Painted plein air on location in a wild garden in Poland adding etheric oils. :: Painting :: Expressionism :: This piece comes with an official certificate of authenticity signed by ...

Hermann Goepfert (1926 Bad Nauheim - 1982 Antwerp), Collage with metal application, 1965. Contribution no. 14 from the anthology 'La lune en rodage II' published by Editions Panderma...

Axelmannstein II is the companion piece to Axelmannstein. I was inspired by a garden/park area in a small town in Bavaria - it actually belongs to a luxury hotel. The garden has som...

signed oil on plywood 95 x 110 cm Full name: Paul Matthes Born: 1872 in Königsberg then East Prussia, today Kaliningrad, Russia Died: 1956 in Potsdam, Germany Profession: Paint...

a vineyard somewhere in south-east Bulgaria :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No ::...

"Windborn" is a mid-size abstract work in the main colours of orange, cream and violett. I worked here with many glazes so that this work has a lot of depth. The sides of the canvas...

Oil on cardboard Signed in the middle at the bottom 54x42 cm Rudolf Zender (1901-1988) is one of the most important realists in Swiss art. He trained as a painter in Frankfurt and...

oli on canvas signed bottom left 34x44 cm Karl Eduard Onken (also known as Carl Eduard Onken) was an Austrian landscape painter and etcher of German origin. Here are some key ...

Offset print of untitled painting (Keith Richards with Mick Jagger puppet), signed and dedicated by Sebastian Kruger (Krüger) as follows: "Hello Little One! Happy Birthday..." S. Kr...

Bronze signed 58x 56 cm Thomas François Cartier, born February 21, 1879 in Marseille and died April 26, 1936 in Saint-Vallier, is an animal sculptor and French illustration. biogr...

oil on canvas no signature restored condition piece 47 x 55 cm The Biedermeier era emphasized the domestic, bourgeois, middle‑class life: comfortable, inward‑facing rather than gr...

oil on panel signed 45 x37,5x 3 cm Theodor von der Beek (1838–1921) was a German painter, primarily known for his portraits and genre subjects, and a member of the Düsseldorf School...

Henri Carnier, 19th century busy European harbor view Signed lower left. Frame damaged. Dimensions without frame: 32 cm x 48 cm With frame: 50.5 cm x 66.5 cm From 1900 Karl Kaufma...

Bronze Emile Louis Picault "Charity-Bien Faisance," a French bronze figure by Emile Louis Picault. 50 cm Bronze signed Emile Louis Picault. With cast stamp. Wonderful work with a ...

Alfred Fuchs (1925 Saarbrücken - 2003 Prague), Lying Boy. Charcoal drawing on strong paper, 30 x 41.5 cm, signed A.[lfred] Fuchs and dated [19]96. - smal...

Jürgen Möbius (*1939 Großenhain), Tectonic Tension. Oil on hardboard, 47.5 x 60 cm, 49 x 61.5 cm (frame), signed lower right "Möbius" and dated "[19]81". - Upper left corner with a small chip, light scratches and a little rubbed in places. Provisional gallery frame with traces of use. - Archetypes of Painting - About the artwork The form structure in front of the eye is overlapped by the frame. Thus, the frame does not open up a space in which something is presented, but rather shows the seemingly arbitrary section of a comprehensive context that cannot be framed as such. We see forms that stand in a structure of tension with each other, whereby the individual black and brown forms, which continue almost endlessly beyond the frame, already show a tension in themselves, since they are not only forms, but also surfaces - form surfaces, while the light blue surface ground is at the same time forms that appear as surface forms. The formed surfaces and surface forms are nested within each other and form a structure that encompasses all elements. The angular arrangement of the black and brown shaped surfaces gives the structure a tectonic character. The tension is thus heightened to the point of paradox, since the black shape at the front is overlapped by the brown shape at the bottom in the center of the picture, which would be impossible in real space. It is precisely through this "paradox" that Möbius demonstrates that the paradoxical is reality within painting. It is, so to speak, the most original possibility of painting, which distinguishes it from the other arts. In combination with the tectonic formations, Jürgen Möbius creates an archaic primordial painting, which, however, should not be confused with the autonomous color and form cosmos of Suprematism à la Kasimir Malevich. Instead of homogeneous, perfectly colored forms, here the colors are deliberately applied unevenly, and the light blue is mixed with the brown in a manner determined by the brushstroke. At the edges of the surface forms, the uneven application of paint allows the wood of the unprimed hardboard to show through. In this way, Möbius illustrates that we are dealing with a painting that has been created by an act of painting - an act, however, that takes hold of the original principles of painting and thus realizes painting as such. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

Klaus Oldenburg (*1942 Berlin), Eccentric discharges of a blue-red core, around 1975. paint and cast resin on chipboard, 39 x 59 cm (inside dimension),...

Karl Ludwig Mordstein (1937 Füssen - 2006 Wilszhofen), Field 1983. Color etching, copy 13/65, 22.5 x 28 cm (image), 40 x 45 cm (sheet), 43 x 48 cm (frame), titled, numbered, monogram...

Bernhard Pankok (1872 Münster - 1943 Baierbrunn), General Wilhelm von Blume, 1915, aquatint etching, 34 x 29.5 cm (sheet size), 26 x 22 cm (plate size), signed in the plate at upper left, in pencil at lower right and dated in pencil at lower left. - At lower left old collection stamp, at the right broad margin with a small spot, otherwise very good condition. About the artwork The 1915 aquatint etching of General Wilhelm von Blume is based on a 1912 oil painting in the LWL-Museum für Kunst und Kultur in Münster. A second oil portrait of the general by Pankok is in the Staatsgalerie Stuttgart. When Pankok painted the first oil portrait in 1912, the general had already been retired for 16 years. It is therefore a retrospective portrait. Accordingly, the orientation of his head is such that he is looking back in both the oil painting and the etching. Without fixing on anything in particular, he looks thoughtfully inwards and reflects on his life. Uniformed and highly endowed, it is his military activities in particular that he is reviewing attentively and, as his gaze reveals, quite critically. Pankok has literally written the sum of his experiences on Wilhelm von Blume's face: The physiognomy is a veritable landscape of folds, furrows, ridges and gullies, all the more striking against the flat background. It is clear that each of the medals was also won through suffering. However, by breaking the boundaries of the picture, his bust appears as an unshakable massif, which gives the general a stoic quality. The fact that the design of the portrait was important to Pankok can be seen from the different versions, the present sheet being the third and probably final revision, which Pankok dates precisely to 18 February 1915. Compared with the previous state, the light background now has a dark area against which the sitter's face stands out, the dark background in turn combining with the uniform to create a new tension in the picture. Pankok's taking up of the portrait of the high-ranking military veteran and its graphic reproduction can also be seen in relation to the First World War, which had broken out in the meantime. In the face of modern weapons of mass destruction, Wilhelm von Blume's warfare and military writings were relics of a bygone, more value-oriented era. About the artist After studying at the Düsseldorf Art Academy from 1889 to 1891 under Heinrich Lauenstein, Adolf Schill, Hugo Crola, and Peter Janssen the Elder, Bernhard Pankok went to Munich in 1892, where he worked primarily as a graphic artist for the two major Jugendstil magazines "Pan" and "Jugend," which established his artistic success. Through this work he met Emil Orlik, with whom he had a lifelong friendship. In 1897, he exhibited his first furniture, and in 1898, together with Richard Riemerschmid, Bruno Paul and Hermann Obrist...

Heinz Roder (1895-1965), Low Mountain Landscape with Rocks, oil on painting cardboard, 30 x 40 cm (visual size), 40 x 50 cm (frame), signed and dated "[19]34" at lower right. In a de...

Lovis Corinth (1858 Tapiau - 1925 Zandvoort), Rudolf von Rittner as Florian Geyer, 1924 (Müller 854), drypoint signed in pencil. 20.4 × 14.2 (plate size), 37.7 × 30.6 cm (sheet size). Published by Karl Nierendorf, Berlin. Framed in a passepartout. - Strong, precise impression. Frame a little bit rubbed and with two small damages. About the artwork The knight is a leitmotif in Lovis Corinth's work, culminating in his Self-Portrait in Armour of 1914. Of all the paintings on this theme, Corinth most often depicted Florian Geyer. Descended from a Franconian noble family, he fought for the freedom of the peasants during the peasant wars of the Reformation, first diplomatically and then militarily, leading the legendary Schwarzen Haufen (Black Troops). The name derives from the black uniforms with which Geyer dressed the peasants willing to fight. During the Napoleonic occupation, the freedom fighter Florian Geyer was sung about by the Romantics, and the free corps Die Schwarze Schaar, founded in 1813 by Major von Lützow, succeeded the Schwarzer Haufen. It was against this historical background that Gerhard Hauptmann wrote the revolutionary drama Florian Geyer, which premiered at the Deutsches Theater in Berlin in 1896. While the actor Rudolf Rittner, who would later appear in Fritz Lang's films, initially played the role of Schäferhans, he took over the leading role in the new production at Berlin's Lessing Theatre in 1904, again directed by Emil Lessing, which established his fame as an actor. Hauptmann himself praised the acting. He wrote to Hugo von Hofmannsthal: "It went quite well with Florian Geyer. In any case, I had the great pleasure of seeing the play again in an admirable performance". And Lovis Corinth was so taken with Rittner's performance that he painted an oil portrait of him in the role of Florian Geyer in 1906. After two further graphic versions in 1915 and 1920/21, Corinth returned to the painting a year before his death and almost twenty years after the oil painting to create this graphic version in 1924. Even the inscription in the picture was taken over. This proves all the more the importance of the knight and freedom fighter for Corinth's self-image. The oil painting, in particular, proclaims the single-minded determination to fight to the last for the values defended, manifested in the oil painting by the tattered flag held out to the enemy. There is a parallel with Rainer Maria Rilke's 1899 story The Cornet, in which the protagonist goes down with the flag that he first saved at the risk of his life. Consequently, the portrait is also a self-portrait, and the knight's armour is not an academic costume or an ironic refraction, but an expression of Corinth's self-image, which also includes his self-representation as an artist. The Secession poster...

Antique painting, 19th century, oil on canvas, harvest by the river. Signed lower right. Dimensions without frame. Paintings by Alexandre Kircher have already raised more than $ 20...

Eugen Felix Prosper Bracht, 1917, Harvesting with a hay wagon and team of oxen. Large and decorative painting by the world-renowned artist Eugen Bracht. Fro...

A finely detailed Alpine landscape in watercolor and gouache by British-born German painter Edward Harrison Compton (1881–1960), signed lower right. The composition depicts a tranqui...

Otmar Alt, abstract art print, hand signed and numbered. Dimensions with frame. Includes certificate of authenticity.

PROF. ERNST SEGER 1868 Neurode - 1939 Berlin STANDING SEAMSTRESS Very rare bronze with exceptional figure representation. Bronze, dark patinated, on a square marble base (H. 3 cm)....