Berlin - Art

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...

Reiner Schwarz (*1940 Hirschberg), The Hunchback, 1969. Lithograph, 33 cm x 22 (depiction), 59 cm x 42 cm (sheet size), signed “R.[einer] Schwarz” in pencil lower right, dated “[19]6...

"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...

Amid the muted tones of autumn’s twilight, a white pumpkin rests at the center, radiating a quiet, pure beauty. The dark gray background, with hints of deep purples and petrol blue, ...

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...

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...

Lotte Benter, Girl in Bornholm costume, design around 1925, execution 1967, model number 1323, First choice. Porcelain with underglaze painting. 21 cm (height) x 12 cm (length) x 10 ...

Intense physical gestures were used to throw paint for two hours. A red monochrome colour palette and medium sized brushes were used. This is part of the artist’s ongoing self ref...

Anton Büschelberger (1869 Eger - 1934 Dresden), Pointer, around 1930, made by the Karl Ens porcelain manufactory in Volkstedt (Thuringia), model number 2478, 6. Porcelain with underg...

Königliche Porzellan-Manufaktur (KPM), View cup with Berlin veduta of the Altes Museum, circa 1830. Bell-shaped cup with raised handle ending in a shell palmette. The front with gold...

Oil painting, Russian, soviet artist, Samochwalow (Samokhvalov) Oil on cardboard. Signed (monogrammed) and dated. Moscow gallery or exhibition sticker on the back. Dimensions with ...

Decorative, antique still life with fresh fish, apples, lettuce and pewter jug. Oil on canvas. Unsigned. Dimensions with frame: 130 cm x 159.5 cm. Dimensions without frame: 91.5 cm...

Bing & Grondahl / Weiss, Claire, Youthful audacity Bing & Grondahl figurine by Claire Weiss (1906-1997), Youthful audacity, made between 1970 and 1982, model number 2162, first choic...

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

"Still Life with Flowers and Fruits" is a vibrant and dynamic painting that showcases a harmonious blend of flowers, fruits, and tableware. Created with a rich, expressive palette, ...

"Cellular Grove" is a vibrant painting that celebrates the organic beauty of nature through a unique fusion of botanical elements and abstract motifs. Dominated by lush shades of gre...

"Permeation Purr" is a captivating painting that explores the interplay between sound, cats, and botanical imagery in a mesmerizing blend of black, blue, and white hues. The canvas e...

Decorative oil painting, fishing boat and sailing ship. Dimensions with frame in cm 81 x 96

Antique oil painting, Willi Krug, "Snowy Birch Path" This painting by Willi Krug entitled "Snowy Birch Path" captures the quiet magic of a winter day. The scene is covered by a deli...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

Acrylics, house paint, dry pressed Rose petals, dry pressed Datura flowers (4), varnish (partial) on industrial floor paper. I attempted to create a symbiosis between natural bio sh...

Tropical river landscape in sunset glow, signed, dated, Joseph Firmenich 1868, oil on canvas. Very decorative and large painting. Canvas has been res...

Old oil painting, Hans Kreuzer, hay, straw harvest. Signed and dated. Age-related condition. Dimensions without frame.

Antique, romantic oil painting, 19th century. Old hunting lodge at the lake. The painting with frame is displayed smaller in the interior preview, because the dimensions were measur...

Acrylic ink on board, 2016. Ready to hang. It comes directly from the studio of the artist. Height: 48.82 in ( 124 cm ), Width: 35.43 in ( 90 cm ). Udo ...

A work from the series "Secrets of Memories". I create my paintings by applying many translucent layers, just as people are made up of different layers, among them layers of other pe...

Kunsttöpferei Kandern (1897-1927), Bulbous vase with clay-colored gradient glaze on a black-blue ground, between 1914 and 1927. Terracotta, marked 'KTK' on the underside and identifi...

Rainy Days and Autumn Leafs No. 76 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...

This work represents pink lines that stand out against a black background like a glow coming out of the night. It is a celebration of love, tenderness and passion between two beings....

KPM, Madonna del Dito, oval, slightly curved porcelain picture plate by KPM Berlin in fine polychrome onglaze painting, 27 x 22 cm (plate size), 33 x 28.5 cm (frame), unsigned, press...

Johannes Heisig (*1953 Leipzig), "Threatening to defeat me once and for all" - To the Christmas Oratorio by Johann Sebastian Bach. Lithograph on strong yellowish laid paper with wate...

Adalbert Holzer (1881 Munich - 1966 Munich). Wettersteinkamm. Watercolour, 29 x 34.5 cm (visible size), 37.5 x 43 cm (frame), signed and dated at lower right 'ADALBERT HOLZER [19]23'. Framed behind glass. Frame shows signs of wear. - The blue of the mountains - About the artwork The Wetterstein ridge is revealed to the viewer from a gentle, snow-covered hill. In contrast to conventional depictions of mountains, the painting is composed entirely of shades of blue, which condense into the blue-grey of the rock or fade into the white of the snow. As a complementary colour to the blue, Holzer virtuously activates the ochre ground. The uniform yet exciting polarity of the colours emphasises the massive majesty of the mountains and at the same time underlines the special character of the Wetterstein ridge. Holzer transferred the translucency of glass painting, in which he was originally trained, to watercolour and developed a pictorial language related to the art of Ferdinand Hodler, which earned him the nickname 'Master of Blue' and led to the appreciation of his watercolours in particular. About the artist After an apprenticeship as a stained glass painter at the Kunstgewerbeschule, Adalbert Holzer studied at the Munich Art Academy under Carl von Marr...

Oil on vinyl, diameter: 30 cm. In this last series Sound and Vision, the line remains the only motif of the compositions, but it is illustrated on a new medium which is none other th...

Taking inspiration from a photo of a turquoise lake in Switzerland. The piece has since moved away from form to become painted horizontal lines and dripped vertical lines. About the...

After many uncertain layers, the piece began to approach yellow from lime green. This shift was created by adding several washes of lemon yellow paint, each with slightly less green....

Green and yellow oil paint was pushed around in swirl-like motions with a palette knife. As a final action the green acrylic background was covered by orange oil paint. This is part...

Oil paint was initially pushed around in swirl-like motions with a palette knife. Over several months the canvas was layered with different patches of colour, resulting in a piece th...

Oil paint was initially pushed around in swirl-like motions with a palette knife. Over several months the canvas was layered with different patches of colour. This is part of the ar...

Purple and turquoise oil paint was pushed around in swirl-like motions with a palette knife. This is part of the artist’s ongoing practice, where he intuitively paints for a few ho...

Purple and turquoise swirled together. Purple and turquoise oil paint was pushed around in swirl-like motions with a palette knife. This is part of the artist’s ongoing practice, ...

Studio towels were sewn over four cobblestones, and used to make imprints on a cotton canvas. The performance went for 30 minutes at the opening of “Light Green, Dark Purpleâ€

Oil paint pushed with a palette knife to create swathes and streaks of colour. The resulting piece is contrasting and vibrant with green, white, orange, blue and yellow. This is par...

Oil paint was pushed around in swirl-like motions with a palette knife and layered over several years with different patches of colour. The resulting piece is contrasting and vibrant...

“After three years of working with oil paint, I finally got to the “balanceâ€

I Keep Thinking This Is Over, This Is Not Over / Red Green Purple Blue Created by lying on the ground and using a 2 meter stick to paint, this action is an intentional loss of con...

The Chaos Of The Soul And The Physical Destruction Of The Self Oil paint is layered and swirled to express movement and emotions through colour. This is part of the artist’s on...

It began as a list of observed and projected mood cycles throughout the year, and then became a painting. The painting went on to become a song "After writing a bass groove, I look...

Oil paint pushed with a palette knife to create swathes and streaks of colour; orange, blue and white. This is part of the artist’s ongoing practice, where he intuitively paints f...

I Can’t Tell If I’m Experiencing Heartbreak, Or I Just Think That I’m Experiencing Heartbreak / Wisteria Vine An abstracted version of a digital drawing of a wisteria vine t...

Bronze with light gold patina, 1947. Hand signed by the artist. One of seven casts. Very good condition Dimensions: Height 3.35 in ( 8,5 cm ), Width 4.92 in ( 12,5 cm ), Depth 1.97 ...

Chromogenic print. Signed, dated and numbered on the verso. Literature: Charles Johnstone. New York Storefront Churches. 2011. Ill. plate 6.

Platinum-palladium print. Signed and numbered '2/6' in pencil. Limited edition of 6 + AP. Printed 2018. On japanese Gampi.

Signed, dated and numbered '1/12' on the verso. On Hahnemühle bright white. Inspired by 'Quince, Cabbage, Melon and Cucumber' of Juan Sánchez Cotán, with humour, this photo explores...

Decorative, abstract lithograph, signed and numbered, 67/90 MANRIQUE Dimensions with frame.

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...

Decorative, antique oil painting, with an elaborately carved pompous frame. Scottish, British artist. Shore landscape. According to the advertising sign on the back of the frame, th...

Johann Heinrich Meil (1730 Gotha - 1820 Berlin), Male Nude, 1807. White heightened, occasionally wiped charcoal drawing on brownish paper, 51 cm x 39.5 cm, signed “J.[ohann] H.[einri...

Gérard Edelinck (1640 Antwerp - 1707 Paris), Joan of Austria, 1707. Copperplate engraving, 51.2 cm x 29.8 cm, inscribed below the image: "Jeanne d'Autriche Grande Duchesse de Toscane...