Germany - Figurative Drawings and Watercolors

Untitled_Dead Body on the Field #1, 2022 coloured pencils on paper 39 3/8 H x 27 9/16 W inches 100 H x 70 W cm Signed on reverse Zsolt Berszán embodies in ...

Body in the Field #10, 2022 coloured pencil on canvas 9.84 H x 6.29 W in. 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body thro...

Body in the Field #15, 2022 coloured pencil on canvas 9.84 H x 6.29 W in. 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body thro...

Remains (Body in the Field 5), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 8), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 6), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 9), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body...

Remains (Body in the Field 13), 2022 oil on paper (signed on reverse) 16 17/32 H x 11 13/16 W in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human bod...

Remains (Body in the Field 22), 2022 oil on paper 16 17/32 h x 11 13/16 w in. 42 H x 30 W cm Zsolt Berszán embodies in his works the dissolution of the human body through the prism ...

Hercules after Carracci IV, 2014 Tempera on paper (Signed) 27 3/5 H × 39 2/5 W in. 70 H × 100 W cm On the subject of his new works the artist stated: “There is not enough orange, ...

Secret Garden 12, 2020 white ink on black cardboard 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm The drawings signed by Alina Aldea show the meticulousness and perfection of microscopic...

The Accounting Women, 2019 collage on paper 11 13/16 H x 15 3/4 w in 30 H x 40 W cm The artist’s collages describe a series of faces composed of different materials – cardboards, te...

Meridional VI, 2013 Tempera on Paper 27.55 H x 39.37 W in. 70 H x 100 W cm The series "Meridional" from 2014 shows colorful landscapes under some occasional exemptions. The trees...

Island for Umberto 06, 2014 Pencil on paper ( Signed and dated front lower-right corner, framed) 11.6 H x 16.5 W in. 29.5 H x 42 W cm "Island for Umberto" has the literary source in...

Island for Umberto 11, 2014 Colored pencil on paper ( Signed and dated front left corner, framed) 11.6 H x 16.5 W in. 29.5 H x 42 W cm "Island for Umberto" has the literary source i...

?! Apollo Daphne, 2017 Acrylic, acrylic marker, collages on cardboard (signed, front right corner) 20 5/64 H x 28 11/32 W in. 51 H × 72 W cm The artist...

Cell 01, 2019 Black ink on white cardboard (signed) 39 3/8 H x 27 9/6 W in. 100 H x 70 W cm The drawings signed by Alina Aldea reveal the meticulousness and perfection of microscopi...

Disparate III, 2014 Tempera on paper (Signed, Framed) 27 3/5 H × 39 2/5 W in. 70 H x 100 W cm On the subject of his new works the artist stated: “There is not enough orange, yellow ...

House of Dreams, 2013 Ink and colored pencil on paper 16.53 H x 11.69 W in 42 H x 29.7 W cm Signed Raluca Arnăutu creates a zoomorphic world, where an...

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...

Theodor Hosemann (1807 Brandenburg - 1875 Berlin), The actor Karl Seydelmann probably as Max Piccolomini, around 1840. Watercolor with pencil, 20.5 cm (height) x 14.7 cm (width), sig...

Arthur Kampf (1864 Aachen - 1950 Castorp-Rauxel), Study to an allegory of victory, around 1900. Pencil on paper, 21 cm x 18 cm, signed lower left "A. Kampf". - slightly darkened, otherwise in good condition - A virtuoso victory - About the artwork The vertical-format sketch illustrates a plateau to which a staircase leads up from the right. Arthur Kampf thus takes up a typical baroque disposition for the depiction of allegories. And indeed, a female figure climbs the steps to hand the palm of victory to a figure that is probably also female. Other persons standing on the plateau pay homage to her, whereby the figure on the left edge of the picture may represent a warrior. The scene is framed by an ornamentally decorated arch field, which additionally emphasizes the allegorical-historical content of the depiction. An arch can also be seen under the staircase, suggesting that this may be a design for a supraport. The sheet could have been created in the wake of Arthur Kampf's appointment in 1899 as head of the studio for history painting at the Berlin Art Academy. The drawing style, which only outlines the idea of the picture and yet is determined by concise lines, corresponds to the sketchiness of the Baroque and testifies to Arthur Kampfs intensive study of this heyday of history painting. About the artist Arthur Kampf was the son of the Aachen painter and imperial court photographer August Kampf. His older brother Eugen and his son Herbert were also painters. Arthur Kampf studied at the Düsseldorf Academy of Art from 1879 under Eduard von Gebhardt and Peter Janssen the Elder, whose master pupil he was from 1883 to 1891. Influenced by the naturalistic paintings of Jules Bastien-Lepage, which Kampf saw on a trip to Paris in 1885, he created the painting "The Last Statement" in 1886, which was based on a personal experience. It shows a man mortally wounded by knife wounds. The oppressive drasticness of the almost life-size depiction caused a sensation and controversial criticism. The first successes were achieved: At the Berlin Jubilee Exhibition of 1886, Kampf received an honorable mention, and at the Munich Annual Exhibition of 1890, he was awarded a gold medal. Between 1886 and 1936, Kampf participated in all the major German exhibitions. In 1887 the artist painted his first fresco, which was the beginning of a series of monumental compositions. With the highly successful painting "The Burial of the Corpse of Kaiser Wilhelm I in the Berlin Cathedral" (1888), Kampf established himself as a painter of contemporary history, following in the footsteps of Adolph von Menzel, whose oeuvre he immediately took up with the painting "Speech by Frederick the Great to His Generals in Koeben" (1893). The pictures of his Liberation War cycle were included in school textbooks and distributed in large editions as postcards. As for his academic career, Kampf became an assistant professor at the Düsseldorf Academy of Art in 1887, and in 1894 he was appointed professor of the class for antiquities and nature, and in 1897 he became head of the painting class. In 1899 Kampf was appointed director of the history painting studio at the Berlin Academy of Art. In 1901 he became a full member of the academy and was its president from 1907 to 1912. As Anton von Werner's successor, Kampf directed the Academy of Fine Arts in Charlottenburg from 1915 to 1925. Among his monumental works is the painting of the assembly hall of the Aachen town hall, done between 1898 and 1902. It focuses on the social welfare of the state and the work of the people. Important subsequent commissions include the painting of the reading room of the new Royal Library in Berlin and the new auditorium of the University of Berlin with "Fichte's Speech to the German Nation". During World War I, at the request of General Ewald von Lochow, Kampf traveled to the Western theaters of war, including Warsaw in 1916. In addition to painting, Kampf was also intensively involved in printmaking and, together with his brother Eugen and artist friends such as Alexander Frenz and Olof Jernberg, was considered an innovator of lithography in Düsseldorf. From 1913 on, he worked continuously as an illustrator of historical works and literary classics such as Shakespeare and Goethe. Kampf remained a recognized artist after 1933. On the occasion of the retrospective of his complete works at the "Great German Art Exhibition", he was awarded the "Eagle Shield of the German Reich". During the final phase of World War II, Kampf was placed on Hitler's "Gottbegnadetenliste," which protected him from military service. After World War II, Kampf, whose work was largely destroyed, fell into obscurity. Arthur Kampf belonged to numerous artists' associations. He was a member of the "Rheinisch-Westfälischer Künstlerbund", the "Society of German Watercolorists", the "Association of German Illustrators", the "Malkasten", the "Künstlerclub St. Lucas", the "Düsseldorfer Künstlerbund", the "Freie Vereinigung Düsseldorfer Künstler" and the "Berliner Künstlerbund". Arthur Kampf's sister was married to the painter Alexander Frenz. "Kampf's public recognition in the German Empire later led to his being one-sidedly labeled as a history painter and representative of the Wilhelmine era. This classification does not do justice to the artist's oeuvre as a whole. His early talent did not experience a rapid development later on, but it reached an ever greater mastery in the sense of an impressively relaxed realism and extended thematically beyond history. Kampf was also an excellent draughtsman, etcher and lithographer. Many of his works have been destroyed or lost, and some lead a shadowy existence in museum storerooms." - Otto Zirk "His importance as a Wilhelminian painter and cultural politician has been forgotten in favor of an exaggerated reception of his work during the Third Reich. - Andreas Schroyen Selection of public collections that own works by Arthur Kampf: Altonaer Museum Hamburg, Berlinische Galerie, Burg Frankenberg Aachen, Busch-Reisinger Museum Cambridge/Mass., Deutsches Historisches Museum Berlin, Government Art Collection London, Kulturhistorisches Museum Magdeburg, Kunsthalle Hamburg, Museum für Kunst- und Kulturgeschichte Dortmund, Museum Kunstpalast Düsseldorf, Neue Nationalgalerie Berlin, Suermondt-Ludwig-Museum Aachen, Van der Heydt-Museum Wuppertal. Selected Bibliography Hans W...

Ernst Albert Fischer-Cörlin (1853 Körlin - 1932 Persante). Feeding the Kittens, 1893. Pencil on painting cardboard, 38 x 29 cm. Signed and dated by the artist at lower left "E[rnst] A[lbert] Fischer=Cörlin 1893". - Lightly stained, somewhat dusty and minimally foxed. - Little cat mother - About the artwork Daughter, mother and grandmother gather in the sunlight to feed a litter of kittens. The mother and grandmother hold the lively, playful animals in their arms, while the young girl feeds two of the four kittens with cookies. There is also a small bucket of milk and a bowl of milk. The women and the girl watch as the cute, still blind animals eat. It is a scene taken from everyday life, but it also has an allegorical dimension, bringing maternal care into the representation. Three generations are represented, with the grandmother and the mother already mothers. They not only offer the kittens to the youngest, but also proudly observe the maternal care that the youngest gives to the kittens. Like the kittens, she will grow up and become a mother herself, so the image is also an allegory of life's ever-new beginnings. In keeping with this, the morning sun shines into the picture from the right. Fischer-Cörlin has masterfully worked out the quality of the light, with its light and dark areas, with the pencil used...

Manfred K. Schwitteck (*1948), Still life with fish bones, pencil and pencil sharpener, 1992. watercolor over pencil on handmade paper, 31.5 x 45 cm (visible size), 47 x 61 cm (frame...

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...

keywords; surrealism, portrait, oil painting, figurative painting, strangeness, contemporary surrealistic, unsettling, contemporary figurative painting, dreams, symbolic composition, dream, tones, portrait, tonalist, nostalgia, early 20th century, naturalist, illustration, grey art, young woman, hair, hair bun...

keywords; surrealism, portrait, oil painting, earth tones, figurative painting, strangeness, contemporary surrealistic, unsettling, contemporary figurative painting, dreams, symbolic...

keywords; surrealism, portrait, oil painting, earth tones, figurative painting, strangeness, contemporary surrealistic, unsettling, contemporary figurative painting, dreams, symbolic composition, dream, flesh tones, portrait, earth tones, tonalist, nostalgia, early 20th century, naturalist, illustration, grey art, young woman, hair, hair bun...

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), Two sitting old people, around 1990. Mixed media on watercolor paper, 24 cm x 32 cm, signed “Schloss” lower left and again in Heb...

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...

Samuel John Hodson London 1835 - 1908 Main Market in Trier, 1886 Watercolor Signed and dated lower right Size: 50 x 67 cm Frame: 60 x 77 cm Viewing and pickup by appointment Auth...

Gilbert & George (British, b. 1942 and 1943) The World of Gilbert & George: The Storyboard, 2001 Medium: Ink wash drawing on paper (and artist’s book) Dimensions: 20.3 x 29.2 cm (8 x...

Fine drawing in pencil, oval format. Circle of Angelika Kauffmann. The subject is not clear. It is Amor with his arrows and perhaps Venus with a sp...

Two putti with symbols of war and victory (cannons, cannonballs, armour, anchor, lion's head, laurel branch/ olive branch, flag, staff with helmet) in pediment triangle. Probably a design for a painting or architecture Pen-and-ink drawing in black on brownish paper, black wash Plain gold moulding with UV glass Allegory of Victory, 18th Century, Old Master Drawing, By De Wit, Figurative Jacob de Wit...

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)....

Paul Friedrich Meyerheim (1842 Berlin - 1915 ibid.). Sketch of a female torso with hands and an umbrella. Pencil on paper, 27.5 x 22.5 cm (visible size)...

German or Swiss School, probably Circle of Christoph Nathe (1753-1808)), around 1800; beautiful old master drawing/ aquatint, inscribed "P 50/ 1871 gekauf...

Unknown Artist, French School 18th Century, Circle of Mallet? Scene taken from the Decamerone. Old Master Drawing

Painting, 20th century, charcoal drawing "Venice - Venezia" by Paul Kuhfuss Original drawing. Signed and dated. Title "Venezia". Framed, behind glass. Dimensions with frame 65.5cm x 51cm. Age-related condition. For magazines from the publishers Scherl, Mosse, Ullstein, youth (Munich) he worked as an illustrator. In October 1935, he was denounced to the Gestapo by a member of the artist association "Berlin North" for "expressionist impact" and "resistance to Nazi cultural propaganda" and the defense of Jewish colleagues after an exhibition opening in the castle Niederschönhausen. After that, participation in art exhibitions in Berlin was no longer possible. From 1945 he was until January 1960 lecturer at the Volkshochschule Berlin. From 1949 to 1954 he was in charge of the class "Act, Set Design and Costume Design" at the Textile and Clothing School Berlin. From 1912 to 1960 he participated in 173 exhibitions, in particular the Great Berlin Art Exhibitions...

Pierre Berchet, Drawing of Putti playing in a landscape, Painter of decorative history subjects; trained under La Fosse; worked in France and during the 1690s...

A Landscape Scene, perhaps in a Parc, with a great tree and an Obelisk. in The foreground two figures are shown. English School inscribed "Pieter Rysbraeck?" on paper, with passepart...

Old Master Drawing, Flemish School, Portrait or Sketch of a standing young boy. Condition : see photos The drawing is on paper.