Dick Beer (b. London 1893 - d. Stockholm 1938) 

Motif from Trosa, Sweden, 1934

oil on canvas
signed Dick Beer 1934
canvas dimensions 46 x 61 cm
frame 57 x 72 cm
gold frame included


Dick Beer is a renowned Swedish artist whose works have captured the beauty and essence of the Swedish landscape.This oil painting on canvas from 1934, depicting a summer day in Trosa, it is an interesting piece that will leave any art enthusiast captivated.

The painting showcases the picturesque Trosa canal with its historic buildings in the background, perfectly capturing the essence of the Swedish countryside. The warm and vibrant colors used by Dick Beer breathe life into the canvas and evoke a sense of tranquility and calmness.

Dick Beer was known for his unique and innovative style, which was a blend of impressionism and expressionism. He was an expert in capturing the nuances of light and shadow, and his use of bold colors and visible brushstrokes gives his paintings a distinctive character.

Dick Beer (b. London 1893 - d. Stockholm 1938) 

Folkliv på Korsika, I (Popular Dance at Corsica, I)

oil on canvas
signed Dick Beer
c. 1924
canvas dimensions 88 x 100 cm 

Exhibited:
The Royal Academy Stockholm 1973;
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Dick Beer was born in 1893 in London as Richard Beer, the youngest of five brothers. His father, John Beer (1853-1906), was a watercolourist who was born in Stockholm and had left Sweden at the age of 17. John Beer instructed his sons in drawing and painting, among other things. A number of sketchbooks bear testimony to the boys’ talent.
Dick Beer’s parents died in 1906 and 1907. Barely 15 years old, Beer arrived in Sweden as an orphan. First he lived with relatives and finally he ended up at Reverend Laurell in Västergötland.
Dick Beer began his artistic studies at the Althin School of Painting in Stockholm in 1908 and continued at the Royal Academy of Arts in the autumn of 1910, but in September 1912 he broke off his studies and travelled to Paris. He rented a studio and enrolled at the Colarossi and Grande Chaumière academies.
In the summer of 1913, Dick Beer travelled to Pont-Aven in Bretagne in order to paint. In September the same year, he held his first solo exhibition in Stockholm which he gave the French title Exposition des tableaux de Bretagne et autour de Paris. The exhibition proved a success. Many of the paintings were executed in a light palette in a style inspired by the impressionists.
In 1914, Dick Beer undertook an extensive study trip to Italy, Tunis, Morocco and Spain, which resulted in canvases overflowing with colours and light. When the French army mobilised, he volunteered and was enlisted in the French Foreign Legion. In 1915 Dick Beer sustained severe head injuries in a grenade attack, which resulted in deafness and a nervous condition that would plague him for the rest of his life. Two of his brothers died the following year, fighting for the English army.
Dick Beer was hospitalised and convalesced at Château de Rochefort. Here he started painting again, in an impressionist style, a painting dominated by blue and green hues.
In 1918, Dick Beer married Ruth Öhrling, a dentist, and their son John was born later in the year. During this time, Beer began experimenting with cubist painting and created several large compositions, including the painting “The Arab Café”.
In the years that followed, Dick Beer was based in Paris, where he often moved house. He was instructed by André Lhote, who encouraged his students to work freely in the studio and provided them with individual critique. Beer often travelled to Bretagne or Provence. His artist friends came from all over Europe and included Amedeo Modigliani. Dick Beer exhibited fairly regularly in Paris between 1919 and 1934 and made a name for himself in French artist circles.
In the summers, Ruth regularly rented a house in the countryside, often at Lake Mälaren. She kept a large house with many models and friends and there was a lot of painting and discussions. In 1933, the couple divorced but Ruth still loved Dick and continued to support him financially for the rest of his life.
Dick Beer also exhibited in Sweden, albeit irregularly due to his failing health. In the 1920s and 1930s, Beer continued to pursue an expressionist painting with intense colours and unexpected perspectives, but eventually he veered towards more naturalistic forms, including a large number of nudes. He also painted several portraits of artists, politicians and writers.
In 1938, Dick Beer sojourned in Arles. The budding photographer Christer Strömholm became a student of Dick Beer’s and they developed an intimate friendship. In June the same year, Dick Beer died in Stockholm following complications of pneumonia.

Dick Beer (b. London 1893 - d. Stockholm 1938) 

oil on canvas
canvas dimensions 54 x 47 cm
signed and dated Dick Beer 1914
painted 1914

Exhibited:
Varias Konstsalong, Stockholm, 1916;
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Dick Beer (1893-1938)

Dick Beer was born in London in 1893. His father, John Beer (1853-1906), was a Swedish painter from Stockholm who had a career mainly as a watercolour painter with motifs of horses from racetracks and fox hunts from the countryside.

Barely fifteen years old, Dick Beer became an orphan and came to Sweden in 1907. Already in 1908-1909, he started at Althin's painting school in Stockholm. And later, at the Royal Academy of Arts from 1910-1912. His teachers were, among others, Gustaf Cederström, Oscar Björk and Alfred Bergström. 

At this time, Many artists went to Paris, and Dick Beer wasn't an exception; he rented a studio and took every spare time to visit academies such as Colarossi and Grande Chaumière and André Lhote. 

Dick Beer travels to Pont Aven in Brittany over the summer of 1913. In September, he went directly to Stockholm for his first solo exhibition with the French title Exposition des tableaux de Bretagne et autour de Paris; The exhibition was a big success with many visitors. 

1914-1917: First World War:

In the spring of 1914, Dick Beer undertook a longer study trip to Italy, Tunisia, Morocco and Spain.

When the French army mobilized, Dick Beer volunteered and was accepted into the French Foreign Legion. He was severely injured at Souain in September 1915, and the war injuries left him with severe deafness and nerve problems, which became increasingly noticeable over the years. During and after the war, he painted in a post-impressionistic style with a light palette, increasingly tuned in blue and green.

1918-1919

Dick Beer and Ruth Öhrling married in February, and in December, their only child, John, was born. During these years, Beer had a studio at Rådmansgatan in Stockholm. During this time, he paints several large Cubist compositions such as "In the Paddock" and "Arab Café". 

He participated in the Februarigruppen exhibition at Liljevalch's in 1919. His palette turned into a darker colour scheme dominated by green, blue, and red. 

Amedeo Modigliani made a portrait of him in Paris in 1919. 

Throughout his short life, Beer spent most of his time in France and exhibited almost annually in Paris.

The Scandinavian motifs were mostly landscapes around Lake Mälaren and from the Stockholm archipelago, cityscapes, many nude studies and some portraits. 

Dick Beer practised many styles during his 30 years as an artist, from post-impressionism, cubism, late cubism, expressionism and naturalism. 

Dick Beer (b. London 1893 - d. Stockholm 1938) 

Stormy Weather in St.Arnoult

oil on canvas
signed and dated Dick Beer 1917
canvas dimensions 98 x 77 cm 

Exhibited:
Solo exhibition, Stockholm, Nov-Dec 1917;
The Royal Academy Stockholm 1973;
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Dick Beer (1893-1938)

Dick Beer was born in London in 1893. His father, John Beer (1853-1906), was a Swedish painter from Stockholm who had a career mainly as a watercolour painter with motifs of horses from racetracks and fox hunts from the countryside.

Barely fifteen years old, Dick Beer became an orphan and came to Sweden in 1907. Already in 1908-1909, he started at Althin's painting school in Stockholm. And later, at the Royal Academy of Arts from 1910-1912. His teachers were, among others, Gustaf Cederström, Oscar Björk and Alfred Bergström. 

At this time, Many artists went to Paris, and Dick Beer wasn't an exception; he rented a studio and took every spare time to visit academies such as Colarossi and Grande Chaumière and André Lhote. 

Dick Beer travels to Pont Aven in Brittany over the summer of 1913. In September, he went directly to Stockholm for his first solo exhibition with the French title Exposition des tableaux de Bretagne et autour de Paris; The exhibition was a big success with many visitors. 

From the beginning of 1913, Dick Beer travels in France and paints in towns and in the countryside. He was inspired by the impressionists, who painted their immediate impressions, that which the eye fastens on in the open air. Dick Beer often depicted nature; studies of trees, shrubbery, vistas or natural phenomena. Other motifs include streets lined with houses. The human figures are often relegated to the background. The vistas are predominantly represented in a range of clear colours in which the motif is accentuated by sharp contours. Here, Dick Beer has also garnered ideas from artists who challenged traditional impressionism, such as Paul Cézanne who, with his geometric landscapes, was a precursor of the cubists. Landscapes by Vincent van Gogh are also discernible in, for example, “Stormy weather in St. Arnoult”. Dick Beer was also influenced by pointillist painting, in which the motifs were constructed by juxtaposed dots of pure paint.

1914-1917: First World War:

In the spring of 1914, Dick Beer undertook a longer study trip to Italy, Tunisia, Morocco and Spain.

When the French army mobilized, Dick Beer volunteered and was accepted into the French Foreign Legion. He was severely injured at Souain in September 1915, and the war injuries left him with severe deafness and nerve problems, which became increasingly noticeable over the years. During and after the war, he painted in a post-impressionistic style with a light palette, increasingly tuned in blue and green.

Dick Beer (b. London 1893 - d. Stockholm 1938) 

Saint Cloud, 1912

oil on board
board dimensions 40.5 x 32.5 cm
frame 51.5 x 43.5 cm 
signed Dick Beer 
painted 1912

Exhibited:
The Swedish-French Art Gallery, Memorial Exhibition, Catalog nr 5, 1942

Provenance:
A private collection, Sweden

Dick Beer (1893-1938)

Dick Beer was born in London in 1893. His father, John Beer (1853-1906), was a Swedish painter from Stockholm who had a career mainly as a watercolour painter with motifs of horses from racetracks and fox hunts from the countryside.

Barely fifteen years old, Dick Beer became an orphan and came to Sweden in 1907. Already in 1908-1909, he started at Althin's painting school in Stockholm. And later, at the Royal Academy of Arts from 1910-1912. His teachers were, among others, Gustaf Cederström, Oscar Björk and Alfred Bergström. 

At this time, Many artists went to Paris, and Dick Beer wasn't an exception; he rented a studio and took every spare time to visit academies such as Colarossi and Grande Chaumière and André Lhote. 

Dick Beer travels to Pont Aven in Brittany over the summer of 1913. In September, he went directly to Stockholm for his first solo exhibition with the French title Exposition des tableaux de Bretagne et autour de Paris; The exhibition was a big success with many visitors. 

1914-1917: First World War:

In the spring of 1914, Dick Beer undertook a longer study trip to Italy, Tunisia, Morocco and Spain.

When the French army mobilized, Dick Beer volunteered and was accepted into the French Foreign Legion. He was severely injured at Souain in September 1915, and the war injuries left him with severe deafness and nerve problems, which became increasingly noticeable over the years. During and after the war, he painted in a post-impressionistic style with a light palette, increasingly tuned in blue and green.

1918-1919

Dick Beer and Ruth Öhrling married in February, and in December, their only child, John, was born. During these years, Beer had a studio at Rådmansgatan in Stockholm. During this time, he paints several large Cubist compositions such as "In the Paddock" and "Arab Café". 
He participated in the Februarigruppen exhibition at Liljevalch's in 1919. His palette turned into a darker colour scheme dominated by green, blue, and red. 
Amedeo Modigliani made a pencil portrait of him in Paris in 1919. 
Throughout his short life, Beer spent most of his time in France and exhibited almost annually in Paris.
The Scandinavian motifs were mostly landscapes around Lake Mälaren and from the Stockholm archipelago, cityscapes, many nude studies and some portraits. 
Dick Beer practised many styles during his 30 years as an artist, from post-impressionism, cubism, late cubism, expressionism and naturalism. 

Gustaf Fjaestad (Fjæstad) (1868-1948) Sweden

Study of Tufts

signed "G. A. Fjaestad," both recto and verso.
oil on artist's sketching board (Wilhelm Becker, Stockholm)
unframed 32.7 x 44.7 cm (12.9 x 17.6 inches)
framed 42 x 54 cm (16.5 x 21.3 inches)

Provenance:
Bukowskis, Stockholm, 4 November 1986, No. 47, under the title "Tuvor i ett kärr" 

Authenticated Documentation:
On the reverse, an inscription recounts that the work was shown to Fjaestad himself in June 1945 at Arvika Stadshotell. In the presence of witnesses, including caretaker Bergh and porter Gustaf Bergqvist, Fjaestad acknowledged the piece as his own, a certification provided by Bergqvist.

Condition: 
The painting is in excellent condition, having recently undergone meticulous restoration by a professional art conservator in Stockholm. It is presented in a newly crafted frame, which is included in the purchase.

Exhibited: 
Rackstadmuseet, Arvika, Sweden

Literature:
A. Fjæstad Nordmark, Fjæstads konst, 1999, under undated works, p. 377 "Tuvor vid ett skär (Tufts on a skerry)"

Essay:
This remarkable study by Gustaf Fjaestad captures the intricate textures and tonal subtleties of natural tufts in their environment. Fjaestad, best known for his evocative winter landscapes and meticulous attention to detail, showcases here his ability to infuse even modest subjects with vibrancy and depth. The play of light and shadow on the tufts conveys an intimate connection to nature, reflective of the artist’s broader oeuvre.

Comparison and Context:
The subject of "Study of Tufts" aligns with Fjaestad’s fascination with the natural world, often explored during his years in Värmland after moving there in 1897. This piece invites comparisons to a photograph of frozen tufts by Bruno Liljefors, Fjaestad’s contemporary and collaborator on the diorama in Stockholm’s Biological Museum. Their shared focus on nature's beauty forged a professional and personal friendship that influenced both artists' works.

Bruno Liljefors photograph of frozen tufts (Uppsala Konstmuseum inv. KM00898292)

While Fjaestad is celebrated for his snowy landscapes, his versatility extended to furniture design, ceramics, and textile patterns, as demonstrated by the woven tapestries created with his wife, Maja, and his sisters at their Racken home studio. His works remain central to Swedish National Romanticism and are featured prominently in collections such as the Thielska Galleriet in Stockholm.

The present work, described alternatively as "Tufts in a Marsh" and "Tufts on a Skerry," likely reflects scenes from either the marshlands of Värmland or the Stockholm archipelago, regions Fjaestad frequented and depicted with profound sensitivity.

Anders Gustaf Hedenskog, Arvika, 11 September 1934. Photo taken on the occassion of the 30th anniversary of Arvika Ancient Monument Society

Interiors from A G Hedenskog’s home at Hantverksgatan, Arvika. 11 September 1934:

Olof Arborelius (1842–1915) Sweden

Farmstead in Dalarna, 1864

signed with monogram OA and dated “Arb-s 64” inscribed into the wet paint, with the estate’s stamp "OA" on the back.
oil on paper mounted on board
unframed 22.5 x 41.5 cm (8.9 x 16.3 inches)
framed 29.5 x 49 cm (11.6 x 19.3 inches)

Provenance:
Artist’s estate; Erik Thorwald Arborelius (1883–1974), the artist’s son; Mrs. Karin Dahlbom, Stockholm; A private collection. 

Condition:
Very good, recently restored by professional art conservator in Stockholm. 

Exhibited:
Nationalmuseum, Stockholm, Olof Arborelius Memorial Exhibition, February 10–March 10, 1943, catalog number 141, exhibited as Farmstead in Dalarna (22 x 37 cm), lent by Mrs. Karin Dahlbom.

Essay:
This oil study was painted en plein air, a technique evident from the pinholes in all four corners of the paper, indicating that it was likely painted outdoor. The composition captures a quintessential Dalarna landscape, with a traditional farmstead surrounded by open fields and distant forested hills. The soft, atmospheric rendering of light and shadow demonstrates Arborelius’ masterful ability to portray the mood and essence of the Scandinavian countryside.

The painting dates to 1864, a period when Arborelius regularly embarked on summer journeys through northern Dalarna, producing numerous oil sketches directly from nature. During this time, he ventured into the remote regions of Särna, where he documented his impressions of the landscape, the local architecture, and the lives of the inhabitants. These sketches served as a foundation for many of his larger works, which often depicted scenes that were unfamiliar and exotic to the wider Swedish public.

About the Artist
Olof Arborelius studied at the Royal Academy of Fine Arts in Stockholm between 1860 and 1865. His artistic development was significantly influenced by Johan Fredrik Höckert, who introduced him to plein air techniques during a stay at the Arborelius family’s parsonage in Orsa in 1858. Encouraged by this mentorship and inspired by artists like Per Daniel Holm, Arborelius began his exploratory painting trips into the Swedish countryside, creating works that celebrated the untouched beauty of Dalarna and the surrounding areas.

Throughout his career, Arborelius’ oil studies were distinguished by their intimate scale and impressionistic treatment of light and atmosphere. Later in life, he spent time in Italy (1870–1872), where his plein air technique reached new heights, earning praise for his sensitive use of color and nuanced depictions of Mediterranean light.

Dalarna remained a central theme in Arborelius’ work, with its rustic charm and majestic landscapes becoming a recurring source of inspiration. His art not only celebrated the natural beauty of this region but also played a vital role in popularizing its unique cultural heritage in the 19th century.

Per Daniel Holm (Malingsbo, Dalarna 1835–1903 Stockholm) Attributed to. 

Landscape from Kvikkjokk, c. 1861

oil on board
unframed 39 x 56 cm (15.4 x 22 inches)
framed 46.5 x 63 cm (18.3 x 24.8 inches)

Condition:
Very good condition, recently restored by professional art conservator in Stockholm. 

Essay:
This exquisite landscape by Per Daniel Holm captures the serene beauty of Kvikkjokk, a remote area in Lapland, Sweden. Holm created the piece following his participation in a scientific expedition to Lapland from July to September 1861, led by Carl Anton Petterson, inspector of the kingdom's navigation schools and a member of the Academy of Military Sciences. The purpose of the expedition was to gather geographical data and make precise location and height determinations for the creation of a comprehensive economic map, as the knowledge of Lapland's interior was, at the time, incomplete and often inaccurate.

Kvikkjokk and the neighboring settlement Kammjokk served as the expedition’s destination—regions scarcely populated in the 19th century. Holm, an exceptionally skilled draftsman and painter, documented the journey with studies in pencil, watercolor, and oil. On his return to Stockholm, these studies became the basis for a series of remarkable works that captured the essence of Lapland's rugged and untouched nature.

Among these works, Holm’s most famous painting, “Saggat-träsk Kvikkjokk” (1861, Nationalmuseum, Stockholm), stands as a testament to his ability to evoke the sublime grandeur of the northern wilderness. The present work, Landscape from Kvikkjokk, was similarly conceived from sketches made during this expedition, reflecting Holm's unique ability to blend scientific precision with artistic expression.

Adding to the significance of this painting is its connection to Axel Wilhelm Nordgren (1828–1888), who created a copy of the work, underscoring its importance and influence in the artistic circles of the time. Holm’s original compositions from Lapland were later exhibited and sold at the Konstnärshuset in Stockholm in November 1903, in a retrospective that celebrated his contributions to Swedish art.

Elias Erdtman (Sweden, 1863–1945)

Moonlit Reflections, Heyst-sur-Mer

oil on canvas laid on board
signed E. Erdman och daterad -84
unframed: 29 x 18.5 cm (11.4 x 7.3 inches)
framed: 38 x 28 cm (15 x 11 inches)

Exhibitions: 
Galerie Moderne, Stockholm, "Elias Erdtman," October 22 – November 5, 1942.

Provenance: 
A Swedish private collection. 

Essay:
This atmospheric plein air study, likely painted during the summer of 1884 in Heyst-sur-Mer, showcases Elias Erdtman’s delicate touch as a landscape painter. Set against the backdrop of a serene Belgian coastal scene, the composition features the soft glow of the moonlight reflecting off tranquil waters, framed by the silhouette of darkened trees. This period marked Erdtman’s exploration of outdoor painting while staying in this popular seaside resort near the Dutch border.

The painting reflects the artist's dedication to capturing fleeting moments of natural beauty, a theme that would recur throughout his career. During this time, Erdtman was studying in Düsseldorf and often traveled to enrich his artistic practice. Works from his time in Heyst-sur-Mer, including three sketchbook pages now housed at the Nationalmuseum in Stockholm (NM 70-73/1961), reveal his sensitivity to light and atmosphere.

This painting was exhibited at Galerie Moderne in Stockholm in 1942 as part of a broader display of Erdtman’s work. Among the highlights were several paintings from Heyst-sur-Mer, which were praised by the art historian Folke Holmér in Ord och Bild (1943). Holmér described these works as "some of the most exquisite in the exhibition," noting their poetic quality and testifying to Erdtman’s reputation as a "refined and noble landscape painter."

John Charles Robert Johansson, Called YO Johanson (1897-1963)

Sunset, 1920

oil on wood panel
signed and dated 
unframed 35 x 26.5 cm
framed 40 x 31.5 cm 

Essay:
This serene painting by Swedish artist Yo Johanson (born John Charles Robert Johansson) captures the tranquil beauty of a sunset in 1920. Softly rendered brushstrokes depict the gentle reflection of sunlight across a calm body of water, with the vibrant glow of the setting sun casting warm hues over the rocky foreground. The clouds above add a touch of drama, blending seamlessly into the horizon as day fades into night.

Born on October 2, 1897, in Paris, Johanson was the son of Arvid Claes William Johanson and Charlotte Louise Caroline Lucas. He pursued his artistic studies under the guidance of Carl Wilhelmson and Maurice Denis in Paris, shaping his style and influences. Johanson exhibited his work in several notable exhibitions, including a solo show at Continental Motor in Malmö in 1949 and participated in various group exhibitions in Gothenburg. His art often reflects scenes inspired by his time in France, capturing its landscapes and light in a distinctive, atmospheric style.

Georg Stoopendaal (1866-1953) Sweden

Christmas Sheaf With Birds

oil on canvas
signed G.Stoopendaal
unframed: 60.5 x 38.5 cm (23.8 x 15.2 inches)
framed: 76 x 54 cm (29.9 x 21.3 inches)

Essay:
This painting, created by the Swedish artist Georg Stoopendaal (1866–1953), captures a cherished Nordic tradition: a "julkärve" or Christmas sheaf. The sheaf, made of grain and hung outdoors, serves as a festive offering to birds during the cold winter months. This practice symbolizes generosity and respect for nature, inviting various bird species to gather and feast.

In this delightful scene, Stoopendaal depicts several recognizable birds of the Swedish winter landscape. Among them are the European Robin (Erithacus rubecula), with its bright red breast; the Blue Tit (Cyanistes caeruleus), adorned in blue and yellow; the larger Great Tit (Parus major), with its distinctive black cap; the House Sparrow (Passer domesticus), a common bird with brown and gray plumage; the Bullfinch (Pyrrhula pyrrhula), notable for its vibrant red belly; and the Yellowhammer (Emberiza citrinella), with its yellow head and chest.

Georg Stoopendaal was a self-taught artist, primarily known for his landscapes and still lifes. He was born in Jönköping, Sweden, and later settled in Hindås with his family. His works were widely published, including in the Ny illustrerad tidning and in the United States from 1893 to 1898. His art is represented in Sweden’s prestigious collections, such as the Nationalmuseum and the Gothenburg Museum of Art.

Christmas card by Georg Stoopendaal.

A prolific illustrator, Stoopendaal also illustrated several books and spent time in America, where he documented Native American cultures. His most sought-after paintings often feature working horses, reflecting his eye for detail and deep connection to rural life. He belonged to a notable family of artists—his wife, Anna, and brother Ferdinand were also painters, and Jenny Nyström, a beloved Swedish illustrator, was married to his brother Daniel.

Stoopendaal’s legacy continued through his son, Wilhelm, known as Mosse Stoopendaal, who became a renowned nature painter and was influenced by his father's work from an early age. This painting is a fine example of Stoopendaal's skill in capturing the harmony between human traditions and nature's beauty.

Félix Mestres Borrell (1872-1933) Spain 

View Over Étretat, France

oil on canvas
singed 
unframed: 46 x 65 cm (18.1 x 25.6 inches)
framed: 62 x 81 cm (24.4 x 31.9 inches)

Provenance: 
A Swedish private collection. 

Comparable Sales: 
Kieselbach Auctions, Woman with Flowers in Provence, 1893, 42th Auction / Lot 190. ,2012-12-18. sold for c. 3000€ including buyers premium. 

Essay:
This exquisite painting by Spanish artist Félix Mestres Borrell, created around 1895, captures a young woman gazing thoughtfully over the charming town of Étretat, France. With a delicate fan in hand, she stands at a balcony, observing the coastal landscape bathed in soft twilight hues. In the distance, the iconic Chapelle Notre-Dame-de-la-Garde is visible, perched atop a hill, a notable landmark of Étretat.

The beach of Étretat with Chapelle Notre-Dame-de-la-Garde on top of the hill. 

Félix Mestres Borrell, born in Barcelona in 1872, was a master of serene realism and impeccable technique. After entering the School of Fine Arts at the age of twelve, he quickly distinguished himself, receiving numerous awards in Madrid and Barcelona. His career blossomed with critical success, earning medals for his work and later securing a professorship in decorative painting at the School of Industrial Arts in Barcelona. Mestres Borrell’s works are celebrated for their refined realism and technical precision, qualities that can be seen in this elegant scene of Étretat.

This painting offers a tranquil yet evocative glimpse into 19th-century France through the eyes of a skilled artist who seamlessly blends meticulous detail with atmospheric beauty.

German School, 1700s

The Road to Emmaus

oil on panel
unframed: 24.3 x 17.5 cm (9.6 x 6.9 inches)
framed: 34.5 x 28 cm (13.6 x 11 inches)

Provenance:
Swedish author and artist Amelie Posse (1884–1957)

Essay:
This 18th-century painting, measuring 24.3 x 17.5 cm, depicts the biblical scene known as "The Road to Emmaus" likely created by an unknown German artist. In this scene, found in Luke 24:13–35 of the New Testament, Jesus appears to two of his disciples after his resurrection, walking alongside them as they journey to the village of Emmaus. The disciples, however, do not recognize him until later, when he breaks bread with them, revealing his true identity.

The painting captures the moment of Jesus' interaction with the disciples, emphasizing the quiet, mystical atmosphere of the encounter. Jesus, draped in a blue mantle, stands in the center, deep in conversation with the disciples. The use of dark tones and soft lighting enhances the spiritual and solemn quality of the moment, inviting viewers to reflect on themes of revelation and faith.

Previously, this artwork was owned by the Swedish author and artist Amelie Posse (1884–1957). Posse, a prominent anti-Nazi activist, was known for founding the resistance organization "Tisdagsklubben" (The Tuesday Club) during World War II, aimed at countering Nazi influence in Sweden. Her life was marked by a commitment to democratic and pacifist ideals, and she played a significant role in assisting refugees from Nazi-occupied Europe.

Hilding Werner (1880-1944) Sweden

Self-Portrait, 1920

oil on canvas
signed with monogram and dated
unframed: 37 x 32 cm (c. 14.6 x 12.6 inches)
framed: 47 x 42 cm (c. 18.5 x 16.5 inches)
written on the back of the canvas:
(Hilding Werner: Study for Self-Portrait, Stömne, Aug, 1920)

Provenance: 
Acquired from the artist by Ralph Almark.

Condition: 
Recently restored by a professional art conservator in Stockholm. Ready to hang. 

Essay:
This striking self-portrait by Hilding Werner, painted in August 1920, captures the artist’s contemplative gaze against a deep green background. The expression on his face is one of intensity and introspection, as though he is reflecting on the serious times in which he lived. With a crisp, white collar that stands out against the darker tones of his attire, Werner presents himself with a restrained dignity. His somber expression invites the viewer to ponder his thoughts, suggesting the weight of responsibility and reflection in a turbulent era.

Hilding Werner (1880–1944) was a Swedish painter and illustrator born in Kårud, Värmland. He pursued his art studies at Caleb Althin's painting school in Stockholm and supported himself as a caricature artist for Nya Nisse. His connection with fellow artist Bror Lindh introduced him to prominent figures in Swedish art, including Richard Bergh, which led him to study at the Artists' Association’s painting school. Werner’s only study trip abroad took him to the Netherlands in 1905, after which he settled in Värmland, establishing a studio in Stömne in 1907.

A member of the artist collective De Frie, Werner exhibited with the Värmland Art Association and participated in group exhibitions throughout Sweden. Although he never held a solo exhibition during his lifetime, his legacy was commemorated with a retrospective at the Värmland Museum in 1946. Influenced by artists like Gustaf Fjæstad and Otto Hesselbom, Werner’s work combines romanticism with realism, often portraying the landscapes of Värmland. His oeuvre includes portraits, landscapes, and caricatures, each marked by a quiet yet profound dedication to his craft.

This self-portrait stands as a testament to Werner’s seriousness as an artist and the depth of his self-awareness, offering a rare, intimate glimpse into his character.