Anshelm Schultzberg (1862–1945) Sweden

Autumn at Kolbotten, Stubbsund

signed and dated "Kolbotten / A. Schultzberg 85"
oil on canvas laid on panel
unframed: 25.4 x 33.1 cm (10 x 13 inches)
framed: 33 x 41 cm (13 x 16 inches)

Provenance:
Lennart Schultzberg (1908–2001), the artist's son

Literature:
Otto G. Carlsund, Anshelm Schultzberg. En studie, 1937, p. 52, illustration 18, reproduced full-page as "Höst i Kolbotten, Stubbsund, Sickla-ön"

Exhibited:
Stockholm, Liljevalchs Konsthall, Anshelm Schultzberg. Målningar 1876–1937, November 4–28, 1937, no. 31, titled Höst vid Kolbotten

Condition: 
Very good condition, Recently restored by a professional art conservator.

Essay:
This evocative autumnal scene, painted in 1885, coincided with Schultzberg’s breakthrough at the Royal Academy’s Spring Exhibition. At only 23 years old, he garnered the attention of prominent figures such as Ernst Josephson, Carl Larsson, and Richard Bergh, who were returning from Paris at the time. Though his works merited a royal medal, this honor eluded him due to his enrollment in the Academy’s lower division. However, the following year he was awarded the prestigious royal medal for his painting Forest Road in Autumn Atmosphere, created in Stubbsund in 1886.

In the autumn of 1885, Schultzberg rented a small cottage in Stubbsund. A photograph from 1886 shows Schultzberg painting outdoors in this location, emphasizing his commitment to plein air painting regardless of canvas size. His works from Stubbsund introduced a fresh perspective to Swedish outdoor painting, placing the viewer directly into the landscape without the traditional division of foreground, middle ground, and background.

In the autumn of 1885, Schultzberg rented a cottage in Stubbsund, where he painted plein air. A photograph from 1886 shows him working outdoors, regardless of canvas size.

The present painting, Autumn at Kolbotten, must have held great personal significance for Schultzberg; he never sold it, instead gifting it to his son. Kolbotten Lake, a shallow body of water between Erstavik and Saltsjö-Duvnäs in Nacka, has a rich history. Its name derives from an old charcoal-burning site known as Kåhlbotten, and historical maps highlight its connection to Viking-era waterways and later as the site of Kolbottens Wärdshus, a well-known 18th-century tavern.

Anshelm Schultzberg’s innovative techniques and emotional connection to the landscapes he painted are evident in this piece, capturing the serene beauty of Swedish autumn with remarkable depth and intimacy.

Circle of Christian Wilhelm Ernst Dietrich (1712 - 1774)

Portrait of an Old Bearded Man With a Black Cap

oil on wood panel
unframed 25.5 x 18.7 cm
framed 36 x 30 cm

Essay:
We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil painting portrays a distinguished elderly man with a solemn and contemplative expression. His face is framed by a full, white beard, and he wears a soft hat in muted tones of brown and red, adding a sense of quiet dignity and reflection to his appearance.

The subject's eyes are thoughtfully downcast, capturing a moment of introspection. The fine details of his weathered skin and the meticulous rendering of his features highlight the artist's ability to convey depth and character. The use of light and shadow adds dimension to the composition, emphasizing the textures of his garments—a rich brown robe with a contrasting yellow collar that provides a subtle pop of color.

The painting is executed with a restrained color palette, which underscores the subject's serene and introspective mood. The dark background focuses attention on the man's expressive face, illustrating the stylistic tendencies of Dietrich's circle that blend realism with a touch of romantic sentiment.

This portrait, with its historical charm and artistic finesse, would make an exquisite addition to any collection, especially for those who appreciate late 18th-century portraiture and the artistic traditions of that era.

Christian Wilhelm Ernst Dietrich (1712 - 1774)

Portrait of an Old Bearded Man

oil on wood panel
unframed 25.5 x 18.7 cm
framed 36 x 30 cm

Essay:
We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil painting portrays a distinguished elderly man with a solemn and thoughtful expression. His face is framed by a full, white beard, and he wears a soft hat in muted tones of brown and red, lending a sense of quiet dignity and contemplation to his appearance.

The subject's eyes are downcast, perhaps reflecting a moment of introspection. The fine details of his weathered skin and the careful rendering of his features showcase the artist's skill in capturing the essence of character and emotion. The use of light and shadow adds depth to the composition, highlighting the textures of his garments—a rich brown robe with a yellow collar that peeks through, adding a subtle touch of color contrast.

The painting is executed with a muted color palette, emphasizing the subject's serene and introspective mood. The background is kept simple and dark, focusing the viewer's attention on the man's expressive face. This piece offers a window into the stylistic tendencies of Dietrich's circle, combining elements of realism with a touch of romantic sentiment. 

Carl Flodman (1863-1888) Swede

A Harbor Scene from 1884

oil on wood panel
signed and dated C.Flodman 84
unframed: 13 x 21 cm (5 1/8 x 8 1/4 in)
framed: 29 x 37.5 cm (11 3/8 x 14 3/4 in)

Provenance:
A Swedish private collection. 

Essay:
This exquisite small oil painting by Carl Flodman, measuring just 13 x 21 cm, showcases the immense talent of a young artist who tragically passed away at the age of 24. Painted in 1884, when Flodman was only 21 years old and a student at the Royal Academy of Fine Arts in Stockholm, the artwork likely depicts a harbor at Djurgården in Stockholm.

The composition captures a serene yet vivid moment by the water. A warm light bathes the façade of the building near the shoreline, complemented by the striking red fence in the foreground. The bare tree suggests the season might be late autumn or winter. A plume of smoke rising from one of the boats adds an atmospheric touch, while the red flag on a mast provides a vibrant detail amidst the soft palette of blues and greys.

Flodman’s mastery of light and texture is evident in this piece, reflecting both his training and his natural gift for realism. Despite his short life, he left behind a body of work characterized by sensitive and refined depictions of landscapes, often focused on coastal and rural settings around Stockholm.

Born in Stockholm on December 17, 1863, Carl Samuel Flodman showed early promise in art. He began his studies at the Slöjdskolan (later the Technical School) and received private instruction from noted artists G.W. Palm and Oscar Törnå. Between 1883 and 1886, he was a student at the Royal Academy of Fine Arts, where he studied alongside contemporaries such as Gerda Roosval-Kallstenius, Anton Genberg, and Hilma af Klint.

Portrait of Carl Flodman by Ferdinand Boberg

Flodman’s dedication to his craft was evident in his participation in artistic excursions, such as one to Kungsör in 1886 led by Professor Per Daniel Holm. His works from that period, including views of Kivik, reflect his evolving style and attention to detail. Flodman earned several accolades, including a medal in 1886 for a spring landscape and the royal medal in 1887 for his painting "Autumn Landscape."

Sadly, Flodman fell ill in the winter of 1887 due to prolonged outdoor studies. His health deteriorated, and he passed away on October 27, 1888. Despite his untimely death, his legacy endures through his evocative and meticulously crafted artworks. Today, Flodman is represented in major Swedish collections, including the Nationalmuseum in Stockholm, the Gothenburg Museum of Art, and the Norrköping Art Museum.

Condition Report:
The painting has recently been professionally restored by an experienced art conservator. The colors are once again vibrant, and the artwork has regained its remarkable light and brilliance. It is now assessed to be in excellent condition.

The elegant frame is included in the purchase. As the painting fits within the frame with very little margin, we will carefully remove it from the frame and pack it separately for shipping. This allows the buyer to safely reassemble the painting in the frame upon arrival.

Hugo Backmansson (1860-1953) Finland 

Portrait of a Man from the Rif Region

watercolour on paper 
signed and dared H.Backmansson Rifarab 1939
unframed: 30.7 x 24 cm (12 1/8 x 9 1/2 in)
framed: 40 x 34 cm (15 3/4 x 13 3/8 in)

Provenance:
A private collection in Finland.

Essay:
This watercolour portrait by Finnish artist Hugo Backmansson depicts an Arab man from the Rif region of Morocco. Created during Backmansson’s journey to Morocco in 1939, the work captures the essence of the Rif's cultural and ethnic identity. The region, known for its rugged mountain landscapes and vibrant history, served as an inspiration for Backmansson, who often sought to document diverse cultures during his extensive travels.

Backmansson was deeply influenced by his experiences in Morocco, visiting the country twice, first in 1907 and later in 1939. His earlier trip produced another significant work, Man from Marrakech (1909), which is part of the Ateneum Museum's collection in Finland (Inventory No. A-2010-154). This earlier piece and the current watercolour both reflect his fascination with Moroccan culture and his skill in capturing the individuality of his subjects.

Ateneum Museum (Inventory No. A-2010-154) "Man from Marrakech (1909)" 

Born on April 14, 1860, in Pemar, Finland, Hugo Elias Backmansson initially pursued a military career, serving as an officer in the Russian army. After resigning in 1899, he fully dedicated himself to art. His formal art education began at Åbo Drawing School (1870–1873) and continued at the St. Petersburg Academy of Arts (1894–1899). Renowned for his portraits, landscapes, and depictions of military life, Backmansson also served as a battle painter during the Russo-Japanese War and later as head of Russian battle painters during World War I.

Backmansson's Moroccan works, including this portrait, are of great interest not only to art lovers but also to ethnologists and social anthropologists. His depictions of North African life intersect with the research of Finnish anthropologist Edvard Westermarck, who also explored Moroccan culture and society during this period.

The artist is represented in numerous prestigious collections, including Åbo Akademi, the Amos Anderson Art Museum, the Ateneum Museum, the Gösta Serlachius Museum, and the Hermitage in St. Petersburg.

Gerhard Ludwig Lahde (Bremen 1765–1833 Köpenhamn)

A Tailor Working at his Desk

Ink and wash on paper, mounted on a 19th-century backing inscribed “G. L. Lahde del.”
unframed: 14.2 x 10 cm (5 5/8 x 3 7/8 in)
framed: 37 x 32 cm (14 5/8 x 12 5/8 in)

Provenance:
Benjamin Wolff (1790–1866) (Lugt 420)
Thence by descent until 2018;
An important private collection, Stockholm. 

Exhibited:
The Nivaagaard Collection, Tegnekunst på Nivaagaard 2, 1984, no. 40, illustrated

Essay:
This drawing was likely intended as a preparatory work for a series of prints depicting local crafts.

Lahde, born in Bremen, was admitted to the Danish Academy of Fine Arts in 1787. After completing model school, he trained in the art of engraving under Johann Friedrich Clemens (1749–1831). He received several academic honors, including the small silver medal (1790), the large silver medal (1791), and the small gold medal (1792). Though originally planning to return to Bremen, Lahde decided to settle in Copenhagen, where he established himself as a successful printmaker and publisher. In 1792, he became a Danish citizen, and in 1799, he was appointed Engraver to the Danish Court.

In 1805, Lahde acquired a property on Gothersgade, where he managed a thriving business. The property also served as a residence and workspace for notable artists such as C.W. Eckersberg and Johannes Senn.

Lahde is best known for his engravings, which range from topographical views to depictions of everyday life. His works serve as valuable historical documents, capturing significant events such as the Christiansborg Palace fire (1794), the Copenhagen Fire (1795), and the bombardments of Copenhagen in 1801 and 1807. He also produced street scenes, portraits of prominent figures, and series showcasing traditional costumes. Many of his prints were hand-colored by his daughters or assistants, further enhancing their appeal.

Gustaf Wilhelm Palm (1810–1890) Sweden

Ruins of the Imperial Castle Outside Split in Croatia

pencil and watercolour 
unframed: 23.6 x 29.2 cm (9 1/4 x 11 1/2 in)
framed: 40 x 45 cm (15 3/4 x 17 3/4 in)
signed G.W. [a palm tree] and dated 1840 and bearing the inscription “Daßs Keysers Schloss in Croatia n. d. n. Sightseeing.[eichnet] de 21 October 840 in gesellschaft mit Sne Excelens Baron v Ottenfels incognito.

Essay:
In 1837, Gustaf Wilhelm Palm left Stockholm for Berlin to seek treatment for an eye disease. By August 1838, he had settled in Vienna, where he remained for over two years. However, Palm’s ultimate dream was to travel to Italy. After visiting Hungary and Trieste, he finally embarked on his journey to Venice in November 1840, beginning a decade-long stay in Italy.

While in Vienna, Palm exhibited works at the Academy of Fine Arts and the Art Association's exhibitions. In 1840, he presented several paintings featuring local landscapes, including View of the Ruins of Dürenstein by the Danube and View of Gutenstein Castle in Steiermark. The latter was purchased by the Art Association in Stockholm in 1841 (G. Lindgren, Landskapsmålaren G. W. Palm 1810–1890, 1934, pp. 60, 64–65).

During his time in Vienna, Palm became acquainted with Baron Franz Xaver von Ottenfels (1778–1851), a confidant of Chancellor Klemens von Metternich. Von Ottenfels’ eldest son, Moritz Franz von Ottenfels (1820–1907), would go on to become one of Palm’s closest friends. In September 1840, Palm was invited to the von Ottenfels family estate, Horwatzska, in Hungary.

From Horwatzska, Palm and Franz Xaver von Ottenfels undertook an excursion to Croatia, where the von Ottenfels family owned the castle of Bežanec. The ruins depicted in this watercolour were likely drawn during this journey and are believed to represent the medieval castle of Klis, located in the mountains outside Split. This castle, once the seat of Croatian kings, was later converted into a fortress during the Ottoman wars.

Palm’s inscription on the watercolour includes the term "incognito," referring to Baron Franz Xaver von Ottenfels’ frequent use of the pseudonym Henry Werner during his travels. After leaving Horwatzska, Palm continued to Trieste in Italy, arriving at the end of October (Lindgren, op. cit., pp. 67–68).

Elias Martin (1739‑1818) Sweden

Asklepios and His Followers

oil on canvas
unframed: 59.5 x 74 cm (23 3/8 x 29 1/8 in)

Certified on the reverse: "Original by Elias Martin (1739–1818), certified in Stockholm, January 1950, Ragnar Hoppe.

Provenance: 
Director Axel Lundin.

Essay:
This captivating work belongs to Elias Martin’s later period, characterized by his exploration of historical, biblical, and mythological themes. As Mikael Ahlund, Director of the Gustavianum Museum and author of Landskapets röster. Studier i Martins bildvärld (2011), notes, Martin’s figure compositions often depict slightly ragged, naive, yet expressive characters. This painting exemplifies that style.

The scene portrays Asklepios, the ancient Greek god of healing, surrounded by his followers. The figure on the left, with a distinctively crossed gaze, illustrates the variety of ailments for which people sought Asklepios’ miraculous care. The mother and child may allude to a tale in which Asklepios revived a seemingly lifeless child. The woman holding the child is possibly Hygiea, his daughter and companion in his medical practice.

This interpretation aligns with Martin’s familiarity with the myth of Asklepios, which he referenced elsewhere in his work. Notably, in 1783, Martin created a theatrical scene depicting Ulla von Höpken making an offering to Asklepios (Malmö Art Museum, inventory no. MM 030192).

About the Artist:
Elias Martin, a prominent Swedish painter, earned international acclaim during his lifetime for his landscapes, portraits, and genre scenes. After training in Paris and London, he became an associate member of the Royal Academy in England, where he further developed his watercolor technique and taught drawing and engraving. Returning to Sweden in 1780, Martin became a member of the Royal Swedish Academy of Fine Arts and contributed significantly to Swedish art, producing over 200 oil paintings and countless prints.

In his later years, Martin’s focus shifted to religious themes, as seen in works like The Preaching of St. John the Baptist in the Wilderness (Sörmland Museum) and The Lord’s Prayer. He was a close associate of Carl Michael Bellman, Erik Palmstedt, and Johan Tobias Sergel. Martin’s works are held in numerous prestigious collections, including the Nationalmuseum in Stockholm, the Gothenburg Museum of Art, and Uppsala University Library.

This painting exemplifies Martin’s nuanced storytelling and his ability to evoke timeless narratives through expressive and theatrical compositions.

Christian Wilhelm Eckersberg (1783–1853) Denmark

A Woman Breastfeeding a Child

Signed and dated "Eckersberg Aprill 1806"  
Black ink and grey wash, black framing lines, nineteenth-century mount  
unframed: 15 x 19.8 cm (5 7/8 x 7 3/4 in)
framed: 32 x 38 cm (12 5/8 x 15 in)

Provenance: 
The estate of the late C. W. Eckersberg, 1855, no. 101;  
Purchased by Benjamin Wolff (1790–1866) (Lugt 420, blind stamp "BW" topped with a count’s crown);
Thence by descent until 2018

Essay:
This exquisite drawing by Christian Wilhelm Eckersberg, dated April 1806, was created during his formative years at the Royal Danish Academy of Fine Arts, where he studied under the esteemed Nicolai Abraham Abildgaard. The work exemplifies Eckersberg’s early exploration of the nude—a subject that would remain a central theme throughout his career. The delicate composition, rendered in black ink and grey wash, reflects the influence of Abildgaard while showcasing the young artist’s emerging talent for capturing both form and emotion.  

The drawing is one of Eckersberg’s earliest known depictions of the human figure in a natural, intimate setting. It demonstrates his sensitivity to the human condition and his commitment to realism, which later earned him the title "Father of Danish Painting" and established him as a key figure in the Golden Age of Danish Art.  

This work comes with a distinguished provenance, having been part of Eckersberg’s estate and later acquired by the renowned collector Benjamin Wolff, whose stamp is visible on the front. This exceptional piece offers a rare glimpse into the early artistic journey of one of Denmark’s most celebrated painters.