Berlin - Art

Marc Chagall (1887 Peskowatik - 1985 Saint-Paul-de-Vence), Bible Verve, 1956. Color lithograph from Verve ‘Bilder zur Bibel’, Editions de la Revue Verve, No. 33-34, Teriade Paris, 19...

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...

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...

Unidentified artist, Portrait head of Gottfried Bischoff, 1953. Patinated bronze mounted on a natural stone base, 40 cm (total height) x 24 cm (width) x 25 cm (depth), monogrammed on...

The majestic presence of a lion, depicted with a vibrant, expressive palette and bold brushstrokes, captures the essence of deep mental and emotional connections. The lion's command...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Alfred Rethel after (1816 Diepenbenden - 1859 Düsseldorf), Death as a servant, around 1920. Color woodcut by Oskar Bangemann after a drawing by Rethel created around 1845 on handmade...

Bronze sculpture Bienfaisance Charity by Emile Louis Picault Emile Picault French bronze statue allegorical figure of Charity 19th-century patinated bronze sculpture Bienfaisance by ...

Polyphon Perforated Plate Christmas Tree Stand Completely overhauled. Approx. Width 46 cm Depth 27 cm Height 31 cm The automaton has been completely overhauled and tuned. Spring housing re-adjusted. Comb completely tuned. The casing has been overhauled. This also includes the original tree stand and the original crank. The base shown belongs to an antique Polyphon...

Kurt Mühlenhaupt (1921 Klein Ziescht - 2006 Berlin), Myself, c. 1975. Woodcut, 32 cm x 29 cm (image), 36.5 cm x 32.5 cm (sheet size), signed in pencil lower right and titled “Selbst....

George Lilanga (1934 Kikwetu - 2005 Dar es Salaam), Sculpture of a red figure, circa 1995. Polychrome wood, 80 cm (height) x 40 cm (width) x 25 cm (depth), signed on the carved base ...

Fritz Kohlstädt (1921 Stuttgart - 2000 Pforzheim), Cliffs of Bornholm, 1988. Watercolor on heavy paper, 56 cm (height) x 78 cm (width), signed and dated lower left, signed, dated, an...

Hans Thoma (1839 Bernau - 1924 Karlsruhe), Stooped Old Man with Walking Stick and Cigarette, circa 1900. Watercolor and pastel on paper, mounted on cardboard, 29.5 cm x 23.5 cm (shee...

Paul Dierkes (1907 Cloppenburg - 1968 Berlin), Vegetative Form. Mahogany, 1958. 142 x 16 x 10 cm (sculpture), 21 x 17.5 cm (base), monogrammed "PD" on the reverse. - Grown Art - ...

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

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

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...

Light’n’Lines No.40 (Perfect Stranger) is an abstract painting by contemporary German artist Doris Marten, featuring a striking composition of vertical lines in vibrant hues of red, ...

Light’n’Lines No.39 (If you could read my mind) is an abstract painting by contemporary German artist Doris Marten, featuring a striking composition of vertical lines in vibrant hues...

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...

Fritz Kohlstädt (1921 Stuttgart - 2000 Pforzheim), Farmstead on Bornholm, 1990. Watercolor on heavy paper, 56 cm (height) x 78 cm (width), signed and dated lower left, signed, dated,...

Bronze Sculpture, Bronze Statue, Figurine, Fine Art, Antique Eutrope Bouret (French, 1833-1906) Woman, Nymph, Fairy, Winged Figure, Angel, Mythology, Allegory Art Nouveau, Belle Époque, 19th Century, Early 20th Century, Classic Revival Bronze, Two-Tone Bronze, Patinated, Ormolu/Gilt, Wooden Base, Cast Bronze Eutrope Bouret Bronze...

SOUND AND VISION – You called me mellow yellow (9 pieces, C) is a unique installation by German contemporary artist Doris Marten. It is composed of 9 oil-painted vinyl records, 11.8 ...

Light’n’Lines No.38 (remember me) is an abstract painting by contemporary German artist Doris Marten, featuring a striking composition of vertical lines in vibrant hues of red, viole...

Fritz Kohlstädt (1921 Stuttgart - 2000 Pforzheim), On the Hunte near Oldenburg, 1990. Watercolor, 56 cm (height) x 78 cm (width), signed and dated lower left, signed, dated, and insc...

Orange Edition No.17 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 an...

Rainy Days and Autumn Leafs No. 74 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, s...

Red Hot Chili Peppers No. 33 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 un...

Eugène Laurent (1832-1898), ""The Beachcomber"" Inscribed "E. Laurent" on the base plate in the cast. H ""63"" cm Eugène Laurent (French, 1832–1898) was a 19th-century Academic sculp...

Red Hot Chili Peppers No. 48 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 un...

Budgie Edition No. 30 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 ...

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...

Gertrude Degenhardt (1940 New York - 2025 Greifswald), Two Fantastic Scenes, 1970. Oil on hardboard, each 27.5 cm x 22.5 cm (pictures), 38 cm x 33 cm (frame), each signed “G. Degenha...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

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...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Rudolf Nehmer (1912 Bobersberg - 1983 Dresden), Blessed are the peacemakers, 1948. Woodcut on yellowish wove paper, 18 cm x 15.5 cm (image), 45 cm x 30 cm (sheet size), signed “Rud.[...

Light’n’Lines No.20 is an abstract painting by contemporary German artist Doris Marten, featuring a striking composition of vertical lines in intense hues of blue that merges into d...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

SOUND AND VISION – You called me mellow yellow is a unique oil on vinyl installation by German contemporary artist Doris Marten, dimensions are 135 × 135 cm (53.1 × 53.1 in). Every p...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Seidel, Herbert (1906-1974), Autumn verso Summer Landscape, 1953 Herbert Seidel (1906 Berlin - 1974 Rüdersdorf), Autumn verso Summer Landscape, 1953. India ink on grained, bleached p...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

Starting with photographic base elements, such as the figure or the landscape, Haider transforms the scenery into a surreal world through heavy post-production. She uses photographs,...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

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...

Oil Painting, 19th Century. Interior Scene with Family and dog. "The Alcoholic" Antique oil painting in museum quality. With a royal seal. Early 19th centu...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...

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...

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...

The works act as a reflection or gravitational pull from the source and power of the moon. Each work responds to a particular cycle of the Moon in which the energy is translated on c...