Berlin - Art

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...

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...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

Joan Saló is a Spanish contemporary abstract painter whose meticulous, meditative approach creates works that bridge manual gesture with digital-age precision. He lives and works in ...

Extremely decorative and large oil painting from the 17th century. Restored in places.   Signed and dated Simon Peter Tileman 1658 fecit 'lower right Dimensions without frame. From Wikipedia, the free encyclopedia: Simon Peter Tilemann (1601, Lemgo – 1668, Vienna), was a German Baroque painter who was active Bremen, Kassel and Italy. According to Houbraken he first learned to paint flowers and he had a daughter who could paint flowers in watercolors. He was a good landscape painter who spent many years in Italy, but later switched to portrait painting and who painted the portrait of Ferdinand...

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 **"Feminine Spring"** is created in the fluid art technique, conveying a sense of lightness, movement, and renewal inherent in spring. The composition resembles a cross-...

Huge and very decorative castle painting. Antique oil painting. Probably 18th century. "Kings from all over the world in Bethlehem". Christian scene. Canvas relined. Big, heavy fr...

Alexander Frenz (1861 Rheydt - 1941 Düsseldorf). Plant impression in Locarno. Gouache and watercolour. 35 x 23,5 cm (visible size), 49,5 x 38,5 cm (fra...

Rudolf Hayder (active in the 1st half of the 20th century), Heron. Color woodcut on thin Japanese paper, 24 x 29 cm (image), 29 x 36 cm (sheet size), signed by hand at lower right "R. Hayder" and titled by hand as "Reiher". Lower left inscribed by hand "Orig.[inal] woodcut, hand print". - A little bit stained in the margins and very occasionally in the image, minimal hole above the signature, traces of creasing. At the back side's margins with remnants of an old mounting. About the artwork In the context of French Japonism, the color woodblock print, which was widespread in the Asian region, was rediscovered for Western art. The artists of the time, such as Édouard Manet, Claude Monet, Edgar Degas, Paul Gauguin and Vincent van Gogh, were inspired not only by the cultural influence, but also by the two-dimensionality of the pictorial spaces. Thus, color woodcuts became an important moment in the development of the modern pictorial concept founded by Impressionism. In Rudolf Hayder's "Herons", too, the two-dimensionality of the pictorial space is decisive for the pictorial effect. The herons, surrounded by reeds, are framed by the yellow background of the lake, followed by the dark blue-greenish stripe of the opposite shore and, above it, the sky in a lighter blue-green. Formally, it is a sequence of planes, but the two-dimensionality of the motif creates a spatial effect. This spatiality in the surface creates an intense pictorial effect. Hayder intensifies this effect with the blazing lake. In terms of color, the water becomes a sunset. The yellow turns reddish brown toward the shore, then fades to brownish red, while the shore is a watery turquoise...

Reinhard Stangl (*1959 Leipzig), Lonely and lively lake, 1985. White heightened blue colored pencil drawings on brown paper, each 21 cm x 29 cm, signed lower right and once dated 198...

"On the Wave of My Soul" is a painting about memories and faith in dreams. While creating it, I revisited my childhood — those moments when the future seemed endlessly bright, filled...

Ruth Schloss (1922 Nuremberg - 2013 Kfar Shmaryahu), Woman eating, around 1990. Mixed media on watercolor paper, 22.2 cm x 26.5 cm, signed “Schloss” lower left and signed again in He...

Anonymous, Sun God Ra (bookend), 16 x 13.5 x 6 cm (depiction), 17.5 x 13.5 x 8 cm (with pedestal), patinated brass, c. 1935. - Nose slightly rubbed, otherwise very good condition ...

Judith with the head of Holofernes, antique oil painting after Cristofano Allori. Painting has been restored. Dimensions without f...

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), The fruitless tree, 1948. Woodcut on yellowish wove paper, 15 cm x 14.6 cm (image), 45 cm x 30 cm (sheet size), signed “Rud.[olf] Nehm...

Flowers Still Life by Otto Beyer. Painting, oil on canvas. Dimensions without frame. Frame has minor damage in places.

Delightful oil on cardboard by Fritz Schulze-Blank, signed lower left. The painting captures a tender barnyard scene with a hen surrounded by her colorful brood of chicks, rendered w...

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...

Reiner Schwarz (*1940 Hirschberg), The Dirndl Model, 1969. Lithograph, 33 cm x 26 (depiction), 59 cm x 42 cm (sheet size), signed “R.[einer] Schwarz” in pencil lower right, dated “[1...

1922-2004 Honored Artist of the RSFSR, People’s Artist of the USSR, Member of the USSR Academy of Arts, Winner of the I. E. Repin State price.

This is an outstanding bronze statue of Eutrope Bouret, signed on the base, by the very well-known French artist Eutrope Bouret (1833-1906). French antique bronze sculpture by Eutro...

Theodor Hosemann (1807 Brandenburg - 1875 Berlin), The actor Karl Seydelmann as soldier, around 1840. Watercolor in pencil, 22 cm (height) x 14.7 cm (width), signed “Th.[eodor] Hosem...

Pair of antique paintings, oil on canvas, portraits. Around 1850. Portrait of a well-known artist and his wife. Dimensions are per painting...

Eutrope Bouret Bronze Spyche Eutrope Bouret (French, 1833-1906) Late 19th century. Signed on the base Bouret (French, 1833–1906) was an important 19...

Large, enticing and very decorative painting. Oil on canvas. Signed Imre Goth 1931. 1931. Motif of an elgant, young girl with her doll. Beautiful painting in impressionist style. ...

Antique painting, Stormy Coastal View, 19th Century, by H. Schnabel. Oil on canvas. Signed and dated lower right. Unframed. Including certificate of authenticity.

Attributed to MILLOT, Henri. Portrait of a Lady. Oil on canvas. Unsigned, inscribed Millot on the reverse. 18th century. 85 x 69 cm. Framed. 85 x 69 cm. Portrait of a young woman in ...

Karl Ludwig Mordstein (1937 Füssen - 2006 Wilszhofen), Undeutlicher deutlich, 1982. Color etching, e.a. (Epreuve d'artiste) 4/9, 22.5 x 28 cm (image), 40 x 45 cm (sheet), 43 x 48 cm ...

Antique Rococo Oil Painting, around 1800, Royal Dance in the Garden Oil on canvas. Canvas relined. Stretcher renewed. Dimensions are without fra...

Irmgard Biernath (1905 Waldheim in Saxony - 1998 Mainz), Hommage à Kahnweiler, 1984. Terracotta relief, burnished red body, 43.5 x 38 cm, mounted on support plate, in wooden frame 57 x 49.5 cm, monogrammed "IB" at lower right. - Isolated patina losses, but overall good condition, frame slightly bumped. - The Appearance of Genius- This homage to Daniel-Henry Kahnweiler shows the gallerist and art theorist as Pablo Picasso portrayed him in his lithographic portrait of 1957. As an innovative Parisian gallery owner, Kahnweiler had exclusively represented Picasso since 1911, while Picasso had painted his famous portrait of Kahnweiler the previous year as a major work of Cubism. And it is Picasso who appears at the centre of Irmgard Biernath's image. Here, his face echoes the features of the self-portrait he painted in 1907 in the Prague National Gallery. His eyes are wide open as he gazes into the distance, surrounded by the works of his artistic vision that have already taken shape. On the right is the bronze "Man with Sheep...

Ernst Fuchs (1930 Vienna - 2015 ibid), The Lost Trace, 1972. Vernis mou and aquatint etching, 46.8 x 36.4 cm (plate), 66 x 50 cm (sheet), 69.5 x 53.5 cm (frame), WVZ Hartmann no. 185...

Edouard Drouot, 1859 Sommevoire – 1945 Paris Bronze signed 40 cm hoch Very good state of preservation, expressive design. Édouard Drouot (1859–1945) was a French sculptor known for ...

Flemish Baroque painting. Romantic scene. Signed and dated. J. HOREMANS 1760. This 100% authentic painting captivates with its powerful colors. A real eye-catcher. Dimensions witho...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

Albert Dumoulin, around 1900, "La Curieuse", interior scene with a young lady Enchanting interior oil painting. Portrayal of an inquisitive young lady...

Dubucand Alfred 1828-1894 Two Hunting Dogs, Bronze on a Marble Base The Bronze with the monogram 'E.V.' and the number '2958' Two Hunting Dogs, Group Signed Alfred Dubucand, Fren...

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.

Impressive pair of large 19th-century game still lifes by the German painter Ferdinand Hoppe (1848–1890), each signed and dated “F. Hoppe 85” at lower left. Both works are oil on can...

Patterns 150.0 x 100.0 x 1.0, 1.0 lbs Acrylic Hand signed by artist Artist's Commentary: "Patterns (2010) The collection reveals patterns that we select and follow, either consciously or subconsciously, in our life. patterns which may affect significant aspects of our life." About the Artist: "Leila Rezvani...

18th century, antique painting, oil on canvas, old master. Mother with child. Relined canvas. Stretcher frame also renewed. Artist unknown.

Oil painting, 19th century, river and mountain landscape. Oil on canvas. Illegibly signed. Frame damaged. Free shipping only without frame. 76 cm x 94.5 cm without frame.

Oil on canvas 67,5 x52 cm unsigned attribute Hedwig Hausmann-Hoppe was a German painter (born June 29, 1865 in Gumbinnen; died after 1922) specializing in still life, flower, and l...

17th century, old master painting, oil on canvas, "The rest with the horses". Relined canvas. The stretcher was also renewed once. The painting is rather dark, like i.a. on photo n...

signed oil on canvas Full name Karl Adolph Schön, sometimes Carl Schön. • Born 7 September 1868 in Berlin, died 10 December 1945 in Berlin. • He was a German marine painte...

Antique still life, oil painting, with fruits, tobacco, pipe and sculpture. Very decorative painting. Monogrammed and dated lower left. RB 07 (1907...

A beach from the german baltic sea, around Prerow. Oil on linen. Painted with a lot of paint, applied with brush and palette knife. The edges of canvas are colored in a brownish oc...

Antique, decorative oil painting, 18th century. Christian scene. Canvas relined. With a beautiful wooden frame. Dimensions without frame.

This painting speaks about a simple and rare moment of sincerity — a smile that appears not for performance or display, but because warmth already exists within. The faces are intent...

Woodcut on handmade paper. 1974. 43 x 33 cm hand signed Wolfgang Mattheuer was a German painter, graphic artist, and sculptor. Alongside Werner Tübke and Bernhard Heisig, he is c...

"Fjord Idyll by Carl Bergfeld" fjord landscape: This painting, masterfully created by Carl Bergfeld and signed in the bottom right corner, celebrates the majestic beauty of a fjordl...

oli on canvas signed lower left Nicolas Constant Pierrat (1829–1910) was a French artist-painter primarily known for his landscapes, still lifes (especially of flowers and game), a...

Georg Tappert (1880 Berlin - 1957 Berlin), The Mother, 1918 (1964). Estate print from 1964. Linocut on Japan, 31.5 cm x 20 cm (image), 44.5 cm x 28 cm (sheet size), marked lower left...

Large, decorative oil painting in impressionist style. Illegible signed. Dated 1897. "Serious encounter" In places color flaking. Unframed.

Atmospheric oil on canvas landscape, signed lower right and most likely by Johann Hermann ter Hell. The painting depicts a tranquil river scene with moored barges and several windmil...

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...

Hues of colour, tones of life. Each artwork of the series shows a story, a tone, an element of existence in this world. There are countless shades to it. The images are just a select...

Regule / a metal casting alloy 73 cm signed Vincent Désiré Faure de Broussé, "L'Abondance", large Art Nouveau sculpture, reguleVincent Désiré Faure de Broussé, 1834 - Paris - 19...

LAURENT, Eugene, (French, 1832-1898): Diana the Huntress, bronze, 64 cm high, signed, resting on a black marble base, in an antique dress with her hunting dog. Patinated bronze....

"Summerpond" is a minimalistic landscape painting. Various shades of blue, many layers make it very alive and almost sparkling. The work is ready to hang with hooks attached to th...