OTHER

Axel Erdmann (1873-1954) Sweden

View Over Gamla Stan, Stockholm, 1910

oil on canvas 
signed and dated Ax Erdmann 1910
unframed 71 x 92 cm 
framed 87 x 108 cm

Please notice: It is also painted on the back of the canvas.

Provenance:
Fritzes konsthandel;
A Swedish private collection.

Essay:
Axel Erdmann's painting "View Over Gamla Stan, Stockholm, 1910"  is a luminous celebration of Stockholm's historic heart, Gamla Stan, as seen from Södermalm. Erdmann, a Swedish painter and public educator, was born on August 2, 1873, and passed away on May 15, 1954. In this painting, his technique is similar to pointillism; the composition comes alive with twinkling light reflections on the water's surface. This painting features prominent landmarks like the German Church's tower and Storkyrkan, bathed in a palette of muted blues, oranges, and yellows that evoke the waning light of the day.

It comes with an elegant gold frame; Erdmann's work is not just a portrayal of Stockholm's scenery but a testament to his ability to marry colour and light in a symphony of Impressionistic touches. This painting is a vibrant document of city life from over a century ago, inviting viewers to experience Stockholm's historical and cultural richness through Erdmann's eyes.

Erdmann's academic journey started at the Konstnärsförbundets painting school under the tutelage of prominent figures like Richard Bergh and Anders Zorn. Later, he presided over the Valand School of Fine Arts in Gothenburg between 1912 and 1916. His shift from art creation to art education, especially after the traumatic Ådalshändelserna, marks his commitment to social welfare and education, echoing the transformative power of art and community.

Erdmann's paintings are housed in prestigious collections such as Sweden's National Museum, Gothenburg's Museum of Art, Norrköping's Art Museum, and the Jamtli Museum in Östersund.

Nils Forsberg (1842-1934) Sweden

Oil Sketch for the Painting "Death of a Hero", c. 1885-88

oil on wood panel
stamp signed
unframed 32.5 x 41 cm
framed 42 x 50 cm

Provenance: 
Sold through Nils Forsberg's estate.

Essay:
The artwork presented here is an oil sketch by the Swedish painter Nils Forsberg, a study for his famous painting "Death of a Hero, 1888", today in Nationalmuseum Stockholm art collection. The final panting earning him the gold medal at the Salon in Paris.
The sketch is an intimate glimpse into Forsberg's meticulous process and the raw emotion that underpins the final painting.

"Death of a Hero" is a narrative frozen in time, inspired by the harrowing experiences and sights Forsberg encountered during the Franco-Prussian War. Depicted is a man kneeling and leaning over the bed of a deceased hero, encapsulating the ultimate sacrifice and the weight of loss in war. Forsberg's study is divided into three sections, each elaborating on the theme and adding depth to the narrative, allowing the viewer to witness the evolution of the motif.

Born in Riseberga, Scania, on 17 December 1842, Nils Forsberg's journey from a peasant's son to a Parisian artist is a story of determination and passion. His early life, marked by farming and an apprenticeship in house painting, eventually led him to Paris in 1867, thanks to a government stipend. Studying under Léon Bonnat, Forsberg honed his craft, later contributing significantly to historical painting with a focus on realism and social commentary.

The oil sketch here for sale is not just an artwork but a piece of history, offering insights into Forsberg's creative process. 

Death of a Hero 1888, Nationalmuseum Stockholm 

Axel Axelsson (Axelson) (1854-1892) Sweden

A Day in Venice, 1892

oil on canvas
signed and dated 
unframed 24 x 14 cm (9.45 x 5.51 inches)
framed 28 x 18.5 cm (11.02 x 7.28 inches)

Essay: 

This captivating painting by Axel Axelsson (1854-1892), titled "A Day in Venice, 1892", illustrates a moment in Venice in the year 1892. Within the compact dimensions of 24 x 14 cm, Axelson masterfully captures the tasks of daily life in Venice during that time. The scene is centered around a woman drawing water from a well, surrounded by chickens pecking at the ground, which adds a touch of liveliness to the painting. The background features a hanging lamp with blue glass, while a staircase leads the viewer's eye upwards, hinting at unseen spaces and stories beyond.

The courtyard setting is rich with detail: wooden shutters slightly ajar in the upper windows, with laundry hanging to dry, whispering tales of the lives within. A birdcage placed between the windows serves as a charming detail.
Despite the painting's modest size, Axelson's skill in capturing details and atmosphere is evident, showcasing his expertise in architectural and interior motifs.

Axelsson's journey as an artist took him across Europe and North Africa after his studies at the Royal Swedish Academy of Arts between 1872 and 1876. Primarily focusing on architectural motifs and church interiors, his works often feature scenes from Venice, Rome, and the Rhine region. His participation in the Royal Swedish Academy of Arts' exhibitions in 1885 and 1887, and his connection to the Lill-Jans artist circle—mentioned in August Strindberg's novel "The Red Room"—highlighting that he was an important artist of his time, unfortunately he is today almost forgotten. 

Axelsson's paintings are held in prestigious collections such as the National Museum in Stockholm, Norrköping's Art Museum, and the Gothenburg Museum of Art. 

Carl Wilhelmson (1866-1928) Sweden

På havet, 1911 (On the Sea) 

oil on wood panel
signed C.Wilhelmson
unframed 21,5 x 27 cm
framed 32 x 37,5 cm

Exhibited:

Göteborgs konstförening, 1912, nr 66, "På havet"
Liljevalchs Konsthall, Stockholm, Retrospektiv utställning
1934, nr 243, "På havet"

Provenance: 
The Artist, inventory number 243 "På havet, 1911"
Göteborgs konstförening, 1912, nr 66, "På havet" 200kr;
Engineer Sigurd Ekman, Göteborg;
Thence by descent until we acquire it.

Essay:
The painting På Havet (On the Sea) by Carl Wilhelmson, created in 1911, stands as a remarkable testament to the artist's profound connection with the sea and its influence on his work. This exceptional piece, never been on the market since 1912, encapsulates a moment of intense human and natural interaction, set against the backdrop of a vividly blue, sunlit sea.

At the heart of this painting is the figure known as "Henriksson," a man whose captivating gaze invites viewers into a moment of deep contemplation. Wilhelmson's skillful use of blues and the dynamic brushstrokes capture the shimmering movement of the sea and the brightness of the day, creating a vibrant contrast with the detailed portrayal of Henriksson and the partially visible boatman steering at the painting's edge.

"På Havet" has a notable exhibition history, having been displayed at the Göteborgs Konstförening in 1912 and at a retrospective exhibition at Liljevalchs Konsthall in Stockholm in 1934. Its provenance traces back to the artist himself, passing through the Göteborgs Konstförening and eventually into the hands of Engineer Sigurd Ekman in Gothenburg, Thence by descent until we acquire it.

Carl Wilhelmson's life story is as compelling as his art. Born in Fiskebäckskil to a Naval Master father, Wilhelmson faced adversity early on with the loss of his father to a shipwreck. This personal history perhaps deepened his connection to maritime themes. His journey from an apprentice lithographer to a student of Carl Larsson, and later a significant figure in the Swedish art scene, highlights his evolution as an artist. His works, which include not only paintings but also murals and lithographs, are celebrated for their vivid portrayal of Swedish landscapes and life, marking him as a pivotal figure in Swedish art history.

"På Havet" is not just a painting; it's a window into Wilhelmson's world, showcasing his mastery in capturing the essence of the sea and the complexity of human emotions. 

ARVID JACOBSSON (JACOBSON) (1881–1966) SWEDEN

ST ERIKSBRON SEEN FROM STADSHAGEN, 1908

signerad och daterad arvid Jacobson 1908
mixed media
framed 46 x 40.5
unframed c. 34 x 28.5 cm

Essay:

This enchanting painting by Arvid Jacobsson (Jacobson)(1881–1966), executed in 1908, offers a captivating view of St. Eriksbron as seen from Stadshagen on Kungsholmen. Jacobsson has beautifully captured the essence of early 20th-century Stockholm, a period of significant urban development and transformation.

The focal point of this artwork is the old St. Eriksbron, a bridge that was inaugurated in 1906, featuring its distinctive arches. This bridge not only serves as a crucial link between Kungsholmen and Vasastaden but also marks the boundary between Barnhusviken and Karlbergssjön. The original bridge, a combination of truss and arch structures spanning a length of 226.8 meters, was pivotal in connecting the disjointed parts of Sankt Eriksgatan.



Stadshagen, the area from which this view is depicted, is situated in the northwest part of Kungsholmen and has a rich history dating back to the 1600s. Initially serving as grazing land for the city, the area evolved over centuries from agricultural fields to a hub for industrial activities, including a cotton mill and a sugar refinery in the 19th century. By the late 19th century, due to housing shortages, it became a makeshift home for the city's poor, transforming in the 20th century into a residential area with one of Stockholm's oldest allotment garden associations, Karlbergs-Bro koloniförening, established in 1909.

St. Eriksbron itself has undergone significant changes over the years. The original structure was replaced in the mid-1930s by a steel girder bridge, retaining only four of its original seven spans visible today. This transformation was part of Stockholm's urban development, accommodating the city's first two-story bridge in 1944 to include a lower level for the future subway. The bridge once carried the major European route E4, emphasizing its importance in Stockholm's infrastructure.

Jacobsson's painting not only captures a moment in Stockholm's urban development but also preserves the memory of a landscape on the brink of transformation. The juxtaposition of the natural beauty of Stadshagen with the industrial and architectural advancements embodied by St. Eriksbron offers a unique glimpse into Stockholm's past, making this artwork a significant piece of cultural heritage.

JOHN BAUER (1882-1918) SWEDEN

THE FIDDLER 

ink, pencil on paper,
paper dimensions 9.2 x 6.5 cm
frame 28.5 x 24.5 cm
oak frame by Stockholms Förgyllning och Bildhuggeri.

Provenance: 
Written on the back: Skiss av John Bauer.
Present på 30-årsdagen till Gunnar. 19/6 1951

Essay: 
This intricate drawing by John Bauer, measuring approximately 8 x 5 cm and presented in an oval format, encapsulates a profound expression in its modest size. It features a minuscule fiddler at its centre, surrounded by an evocative landscape of mountains and trees that not only frame the subject but also add a layer of depth to the composition. Above, a few birds navigate the sky, adding movement to the serene tableau. Despite its small scale, the drawing is rich in detail and atmosphere, which is characteristic of Bauer's work.

John Bauer, born on June 4, 1882, in Jönköping, Sweden, was a distinguished painter and illustrator known for his contributions to landscape and mythology, as well as portraiture. He gained fame through his illustrations for the early editions of "Bland tomtar och troll" (Among Gnomes and Trolls), a collection of Swedish folklore and fairy tales. Bauer's journey into the arts led him from Jönköping to Stockholm, where he studied at the Royal Swedish Academy of Arts from the age of 16. His early career saw him traveling across Lappland, Germany, and Italy, experiences that profoundly influenced his artistic style.

Bauer's work, deeply rooted in a romantic nationalistic style, drew inspiration from the Italian Renaissance and Sami cultures. Predominantly working in watercolours and prints, Bauer also ventured into oil paintings and frescos. His art, characterized by monochrome or muted colours, brought a broader appreciation and understanding of Swedish folklore, fairy tales, and landscapes. Tragically, at the age of 36, Bauer, his wife Ester, and their son Bengt perished in a shipwreck on Lake Vättern, marking a premature end to a prolific career that left an indelible mark on Swedish art and culture.

Henrik Nordenberg (1857-1928) Sweden

A Moment of Quiet Reflection

oil on canvas
signed Henrik nordenberg
unframed 45.5 x 61 cm
framed 56.5 x 71.5 cm

Condition:
The painting has recently been restored by our art conservator. It had some color loss that needed retouching. A new layer of varnish has been applied. Today, it is experienced in fine condition with a new gold frame.

Essay:
In the heart of a meticulously detailed, antique interior, "A Moment of Quiet Reflection" by Carl Henrik Nordenberg captures a serene and intimate moment that transcends time. The painting, rich in warm, earthy tones and imbued with a palpable sense of tranquility, invites viewers into a private world where time appears to stand still. At the center of this captivating scene is a man, ensconced in the comfort of his home, deeply engrossed in reading. His blue cap and reading glasses, along with the soft light that envelops him, lend a personal and timeless quality to the composition, evoking a universal appreciation for the simple pleasures of life.

The setting of this painting is a testament to Nordenberg's skill in portraying interior spaces with historical authenticity and atmospheric depth. The room, with its robust wooden furniture, floor clock, and decorative bowls perched on a shelf, speaks of a bygone era, reminding us of how domestic interiors have evolved over time. Yet, despite the passage of years, the act of reading, of losing oneself in the pages of a book, remains a constant source of joy and reflection.

Henrik Nordenberg (1857–1928), a figure of the Düsseldorf School, was renowned for his landscape, genre, and interior paintings, as well as his work as an etcher and lithographer. Born in Sweden and later settling in Düsseldorf, Nordenberg was a part of a vibrant artistic community, contributing significantly to the genre and interior painting traditions of his time. His depiction of everyday life, infused with warmth, humor, and a keen eye for detail, earned him a distinguished place among his contemporaries.

 

Ulf Linde (1929-2013) Sweden

Seen from Behind 

gouache on board
signed U.L and dedicated to "Berit"
unframed 8.27 x 5.12 inches (21 x 13 cm)
framed 11.81 x 8.46 inches (30 x 21.5 cm)

Literature:
"Ulf Linde - Essays from a Lifetime in the Arts" from 2023 is included in the purchase. 

Essay:
This gouache painting by Ulf Linde, a multifaceted Swedish figure, presents a unique portrayal of a woman seen from behind, set against a blue and white striped background. The artwork, likely from the 1970s or 1980s, reflects Linde's admiration for René Magritte, whose influence can be discerned in the mysterious and thought-provoking silhouette. The absence of facial features draws the viewer's attention to the form and posture, perhaps challenging us to consider the unseen aspects of identity and presence.

Ulf Linde (1929–2013) was a renowned Swedish art critic, jazz musician, author, museum director, professor, composer, and member of the prestigious Swedish Academy. His father was Harald Linde, an engineer, and his mother Karin Krouthén. Linde's career spanned various realms of art and culture; he was first married to Bertha Lundgren and, after her passing, to Nina Öhman, who succeeded him as the head art curator of the Thielska Gallery.

Linde's membership in the Royal Swedish Academy of Fine Arts from 1963 and the Swedish Academy from 1977 marked his prominent role in the arts. He succeeded Eyvind Johnson in seat number 11 of the Swedish Academy and directed the Thielska Gallery for 20 years.

As an art critic for Dagens Nyheter from 1956 to 1968, Linde was recognized for his radical views on art, emphasizing the viewer's participatory role. His book "Spejare" ('Scouts') from 1960, was a collection of articles on the "informal" artists and was instrumental in triggering Sweden's "great art debate" of 1962. Lind's profound interest in Marcel Duchamp led him to create replicas of Duchamp's works, some of which were signed by Duchamp himself and are now housed in the Moderna Museet in Stockholm.

After leaving Dagens Nyheter in 1968, Linde continued to shape Swedish art discourse as a professor of modern art theory at the Royal Institute of Art and as an interim director at the Moderna Museet. His legacy includes over a hundred temporary exhibitions at the Thielska Gallery, and his "micro-essays" are compiled in the book "Presentationer" ('Presentations').

This particular gouache is accompanied by an exquisite pine frame, adding to its allure. It is dedicated to someone named "Berit," possibly someone of significance in Linde's life. The artwork, through its simplicity and evocative use of color and silhouette, embodies a magnetic charm that is difficult to articulate but deeply felt, much like the enigmatic works of Duchamp and Magritte that Linde admired so much.

August Hagborg (1852-1921) Sweden

Quiet Contemplation, c. 1910-20

watercolor on paper
unframed 13.4 x 9.8 inches (34 x 25 cm)
framed 17.7 x 14.2 inches (45 x 36 cm)

Provenance:
A Swedish private collection.

Essay:
The artwork we present is a rare watercolor by the distinguished Swedish artist August Hagborg, painted in the later part of his career between 1910 and 1920. This watercolour is a departure from Hagborg's often-seen beach scenes with mussel pickers and instead offers a glimpse into a serene, pastoral moment. The scene is set against a timber house, with a man and a woman standing alongside, their gazes directed away from the viewer, which invites contemplation about the story behind their distant stares.

Watercolors by Hagborg are rare, making this piece particularly special. Its fine details suggest a mastery of the medium, likely honed over the years of his extensive career. A written letter from Göteborgs Konstmuseum, dated to the 1940s, suggests a later date for this piece.

August Hagborg, born on May 26, 1852, in Gothenburg and passed away on April 30, 1921, in Paris, was a renowned figure in the art world. His education at the Royal Swedish Academy of Arts in Stockholm from 1871 to 1874 placed him among peers who would rise to prominence, such as Carl Larsson and Anders Zorn. Moving to Paris in the fall of 1875, Hagborg initially painted within the costume genre before finding his niche in coastal landscapes that garnered him accolades and recognition.

Hagborg's success was punctuated by his 1879 painting "Low Water at the English Channel," which won a medal and secured his position as an artist of note. He continued to paint scenes from the Swedish coasts during his summer visits and later from Dalarna after 1914. His travels outside France were limited, but he did visit Devon, England, in 1884 and Italy later in life.

Honoured with a knighthood in the Order of Vasa in 1883 and as a Commander Second Class of the Order of the North Star in 1908, Hagborg's work is represented in major museums such as the Nationalmuseum in Stockholm and Musée d'Orsay in Paris.

Ferdinand Fagerlin (1825-1907) Sweden

The Old Stone Stairway

oil on board
signed Ferd Fagerlin
unframed 24 x 18 cm

Provenance: 
A Swedish private collection.

Essay:
This oil painting called The Old Stone Stairway by Ferdinand Fagerlin offers an intimate glimpse into a quiet interior space, where the stillness of the scene is punctuated by the soft daylight filtering through a window. Measuring a modest 24 x 18 cm, the painting captures the subtle play of light on the staircase and walls, evoking a serene atmosphere.

Ferdinand Fagerlin was born in 1825 in Stockholm and passed away in 1907 in Düsseldorf. He was a notable Swedish artist. His genre paintings often depicted Dutch fishermen, but he was also renowned for his dramatic portrayals of people and interiors. Typically associated with the Düsseldorf school of painting, Fagerlin's journey in art began as a shipbuilder's apprentice before he transitioned to studying at the Royal Swedish Academy of Arts. His military service was followed by further artistic development in Düsseldorf and Paris under the mentorship of Thomas Couture. Fagerlin settled in Düsseldorf, where he cultivated his craft and reputation. His legacy is enshrined in several prestigious institutions, including Nationalmuseum in Stockholm, Kalmar Art Museum, Norrköping's Art Museum, and Gothenburg's Art Museum. This piece reflects Fagerlin's keen eye for detail and his ability to convey emotion through the depiction of everyday scenes.

Bernhard Oscarsson (1894-1977) Swedish

View over Strandvägen, Stockholm

oil on canvas
signed and dated Oscarsson 1933
unframed 54 x 65 cm
framed 70 x 80 cm

Essay:
This painting by Bernhard Oscarsson (1894-1977) is a captivating visual narrative of Stockholm's serene beauty. Oscarsson, a student of Caleb Althin's painting school and the Royal Swedish Academy of Fine Arts in Stockholm, honed his craft extensively through his European travels in Spain, Italy, France, the Netherlands, and Germany. This particular piece is painted from Blasieholmen, behind the National Museum, with his gaze set towards Strandvägen.

Oscarsson's canvas is a symphony of colors, with each brushstroke contributing to the overall harmony of the scene. The foreground is graced with the tranquil paths of Blasieholmen, lined with welcoming benches and a solitary lamp post standing as a silent sentinel. A solitary figure walks towards the bustling Strandvägen, perhaps lost in thought or simply enjoying the scenic view. The rich foliage on the left provides a stark contrast to the open skies, where soft clouds dance in the light of the setting sun.

The painting's palette is reminiscent of the transitional phase between late impressionism and early modernism, capturing the ephemeral quality of light and the subtle nuances of urban life. It embodies a sense of peace and reflection amidst the daily hum of a growing city. Oscarsson's work is more than a mere depiction of a location; it is a portal to the soul of Stockholm, offering a timeless glimpse into the city's heart through the eyes of an artist who both loved and understood his subject deeply.

Same view today, 90 years later: 

Erik Tryggelin (1878-1962) Swedish

Vadstena Town Hall, 1954

oil on canvas laid on masonite board
signed and dated E.Tryggelin 19-21/9 1954
unframed 10.5 x 16 cm
framed 19.5 x 25 cm

Provenance: 
A Swedish private collection 

Essay:

This enchanting painting by Erik Tryggelin, dated September 19 and 21, 1954, captures the historic Rådhuset (Town Hall) in Vadstena, notably the oldest town hall in Sweden. Today, this iconic building houses the Rådhuskällaren restaurant. Tryggelin, born in 1878 in Stockholm, was a dedicated practitioner of Realism and Impressionism throughout his career, despite the burgeoning of modern movements like Expressionism and Cubism during his studies at the Royal Swedish Academy of Art and the Académie Colarossi in Paris.

In this particular work, Tryggelin brings to life the venerable architecture of Vadstena's Rådhuset with a lively depiction of a torchlight procession featuring small figures holding red banners in front of the building. The exact reason for this event remains a mystery, adding an element of intrigue to the scene. The painter's signature style—characterized by an idyllic, atmospheric quality and a mastery of northern light—imbues the painting with a sense of timelessness and an appreciation for the historical narrative of the locale.

Tryggelin's oeuvre primarily includes scenes from Stockholm and its archipelago, as well as Vadstena, portraying the serene beauty of these places. A critic once referred to him as 'the forgotten idyllic painter,' a testament to the tranquil yet profound impact of his works. His paintings, along with his photography, provide a precious documentation of Swedish life from the late 19th to the early 20th century, found in archives such as the Nordiska Museum and Stockholm City Museum.
Also, the National Museum in Stockholm has a collection of over 60 works by Erik Tryggelin.

 

J.A.G. (JOHAN AXEL GUSTAF) ACKE.

"Näspetus"

from Zacharias Topelius book series "Reading for Children"
Ink on paper
picture 9 x 9 cm
frame 16 x 14 cm

Provenance: 
From the collection of Claes Moser 

Essay:
Here is a delicate ink drawing by the Swedish artist, J.A.G. Acke. Evoking a world of wonder straight from Zacharias Topelius' beloved book series "Reading for Children", this artwork captures a young boy, possibly in the throes of a captivating tale, surrounded by smiling, ethereal beings. Set against a dark backdrop, these luminous figures seem to emerge, offering a stark contrast and highlighting their mysterious presence. This piece is a testament to Acke's profound ability to blend narrative and artistry, making it a cherished collectible for any art enthusiast.

Ingeborg Westfelt-Eggertz (1855-1936) Sweden

Lost in Thoughts, before 1890

oil on canvas laid in masonite
painted c. 1883-1889
signed I Westfelt, St.Nazair (Bretagne)
unframed 23 x 21 cm
framed 39 x 36 cm

Condition:
Very good condition with bright and clear colors. 

Essay:
We are delighted to offer a unique and evocative piece by the Swedish artist Ingeborg Westfelt-Eggertz. This small oil sketch captures a moment in time, portraying a young man seated amidst the grass. Dressed in a vest and hat, the young boy appears to be in his late teens or early twenties. His gaze is directed away, captured in contemplation or perhaps lost in distant thoughts. Painted with swift strokes, the artwork embodies spontaneity, presenting an unfinished portrait of the young man surrounded by rapidly rendered greenery.

There's a distinct charm to unfinished artworks and oil sketches like this one. Such paintings offer a rare insight into the artist's creative process, almost serving as a window into their thoughts and initial intentions. At many times a sketch can be more interesting than a finished painting, as it reveals the raw, unfiltered essence of the artist's vision.

The sketch is signed and the place of its creation is inscribed on the front: Saint Nazaire, Bretagne, painted around 1883-1889.

Born in Stockholm on 17th May 1855, Ingeborg Aurora Westfelt-Eggertz was a pivotal figure in the Swedish art world. Daughter to chamberlain Carl Peter Westfelt and Aurora Charlotta Löthman, she later married the editor August Emil Eggertz in 1893. Her artistic journey began at the Technical School and then led her to the Royal Academy of Fine Arts in Stockholm from 1873 to 1880. Further honing her craft, she studied under Collin and Courtois in Paris by 1883. While in Paris, she opened a school for young women from high society in 1887 and contributed drawings to the Delagrave publishing firm.

Returning to Stockholm in 1890, she co-established a painting school for female students with Elisabeth Keyser. Throughout her life, she shifted residences, living in places such as Visby, Landskrona, and finally settling in Gothenburg by 1903. No matter where she resided, Westfelt-Eggertz remained committed to educating and establishing painting schools for women alongside her personal creations. Her oeuvre consists mainly of genre scenes, figure depictions, and portraits, often in pastel. Several works from her Parisian period found homes with North and South American collectors.

Her accomplishments include awards such as a gold medal in oil painting in Arcachon in 1888, a silver medal in Versailles in 1889, and a Mention Honorable in Evreux. Her legacy is immortalized in esteemed institutions like the Göteborg Art Museum, Hallands Art Museum, Bohuslän Museum in Uddevalla, and the National Museum in Stockholm.

Isaac Grünewald (1889-1946) Sweden

Postcard Depicting A Farmer With His Three-Pronged Pitchfork
(A Self-Portrait?)

watercolor on a postcard
dimensions: 14 cm x 9 cm (5.51 x 3.54 inches)
frame: 22.5 cm x 17.5 cm (8.86 x 6.89 inches)

Provenance: 
The Aschberg family

Essay:
We are delighted to offer for sale a unique watercolor painting by the renowned Swedish artist, Isaac Grünewald (1889-1946). This special piece is painted on a postcard and depicts a farmer holding a pitchfork, ready for a day's work. The farmer is adorned in yellow shoes, checkered trousers in shades of pink and green, a blue jacket, and a straw hat. The features of his nose and lips are distinctly rendered, and the pitchfork is held high, signaling his readiness to work.

On the back of the postcard, Isaac penned a New Year's greeting to the Aschberg family. According to the postmark, the postcard was sent in 1923, making it exactly 100 years old. The postcard has been recently framed in a specially crafted, reversible frame handmade by Stockholms Bildhuggeri.

Isaac Grünewald was one of Sweden's most prominent modernist painters. Born in Stockholm in 1889, he studied at the Royal Swedish Academy of Fine Arts and later in Paris under Henri Matisse. Grünewald was heavily influenced by the Fauvist movement, and his work is characterized by its bold use of color and expressionist style.

This watercolor postcard is not only a testament to Isaac Grünewald's skill as an artist but also a piece of history, providing insight into the artist's personal connections and the way in which he used his art to communicate with friends and loved ones. The detailed depiction of the farmer, combined with the personal message on the back and the expertly crafted, reversible frame, make this artwork a fascinating and valuable addition to any art collection.

Ture Ander (1881-1959) Sweden

Floral Symphony, 1936


oil on board
signed and dated Ture Ander 36
board dimensions 24,41 x 18,90 inches (62 x 48 cm)
frame 29,13 x 24,02 inches (74 x 61 cm)

Provenance: 
A private collection, Värmland, Sweden. 

Essay:
Nestled in the repertoire of Ture Ander (1881-1959), a notable member of the Rackstagruppen (Racken Group), is this breathtaking bouquet, capturing the essence of nature's flowering beauty. The artwork offers a glimpse into a moment frozen in time—a moment where flowers in full bloom exude their ephemeral charm.

Anchoring the composition is a resplendent bouquet, housed in a striking blue glass vase, which stands gracefully upon a round wooden table. Ander's choice of blossoms is both eclectic and symbolic. From the towering Digitalis and gentle Poppy to the elegant Iris, passionate Snapdragons, rustic Cornflower, and the delicate Buttercup, each flower brings its unique aura to the bouquet. Collectively, they create an opulent tapestry of color, form, and texture, demonstrating the artist's profound understanding of botany and aesthetics.

The tradition of flower still life, holds a revered place in art history. Such compositions, apart from their aesthetic appeal, often delve deeper, addressing themes of transience, beauty, and the cyclical nature of life. Ander's piece, too, is more than just a visual treat—it's an invitation to meditate on the fleeting beauty of existence, reminding us of the transient nature of life itself.

The painting comes with a beautiful dark brown frame.
It is signed and dated '36, this artwork is not just a testament to Ture Ander's unparalleled prowess but also a window into the vibrant art scene of the 1930s, especially within the Racken Group—an influential art collective that profoundly shaped the Nordic art landscape.

Johan Christoffer Boklund (1817-1880)

The Young Artist 

oil on canvas mounted on board
canvas dimensions 40 x 31.5 cm
frame 53 x 45 cm

Essay:
Introducing a captivating oil painting by Johan Christoffer Boklund (1817-1880). The artwork depicts a young boy practicing his painting skills. Seated beside him is a wooden horse that he is diligently recreating on a round wooden panel. His painting style is simple, revealing his early stage as an artist. The horse he paints consists of straight lines, almost resembling a stick figure, which adds a charming element when juxtaposed with the actual wooden horse.

In 1837, Johan Christoffer Boklund arrived in Stockholm and joined the Royal Academy of Fine Arts. In 1846, accompanied by Johan Fredrik Höckert, he embarked on a journey to Munich, where he stayed for eight years. It was during this period that he developed his artistic skills further. In 1853, he sent his painting "The Curious Trumpeter" back to Sweden, which earned him a government scholarship and paved the way for his subsequent journey to Paris. In Paris, he worked at Thomas Couture's studio from 1854 to 1855. Boklund returned to Sweden in December 1855.

Upon his return, he became a teacher at the Academy of Fine Arts in 1856 and was appointed as a professor. That same year, he played a key role in the establishment of the Artists' Club (Konstnärsklubben). From 1856 to 1872, he served as the tutor to King Charles XV. In 1861, he became a member of the committee responsible for organizing the interior of the National Museum and acted as the acting treasurer at the Royal Museum. In 1866, he became the head curator of the Art Department at the National Museum and, in 1867, the court curator, overseeing Karl XV's painting collection, as well as serving as the director of the Royal Academy of Fine Arts. Boklund was also a committee member involved in organizing the Nordic Art Exhibition in Stockholm in 1866.

His works can be found in various art institutions, including the Nationalmuseum in Stockholm, the Gothenburg Museum of Art, the Vänersborg Museum, the Norrköping Art Museum, and the Kalmar Art Museum.

Provenance: 
Ruth Dagmar Brovall (1885-1971), Who was a relative of Boklund; Later - inherited within her family until 2005; Sold at Roslags Auctions, Norrtälje. 

Unknown Artist, Follower of Godfried Schalcken 

Old Woman and Boy with Candles

oil on wood panel
painted in the 1800s
panel 28.5 x 23.5 cm
frame 40 x 33.5 cm

Condition:
Good condition, newly restored by our professional art conservator in Stockholm. Please contact us for a more in-depth CR.

Essay:
In this painting titled "Old Woman and Boy with Candles" an intriguing scene unfolds before our eyes. An older woman gazes ahead, her eyes shielded from the flickering candlelight, while a young boy stands behind her, holding his own candle, ready to ignite its flame. This artwork's play of light and darkness harks back to the technique employed by the renowned artist Rubens (Mauritshuis, inv.no. 1150), who drew inspiration from Caravaggio's mastery of capturing light and shadow. Notably, this motif has been replicated by other artists such as Godfried Schalcken and Johann Georg Trautmann. Although the artist of our painting remains unknown, it bears a striking resemblance to Godfried Schalcken's interpretation of Rubens' original composition (National Museum in Warsaw, MNW). Several well-known copies of Schalcken's version of the painting exist, each capturing the essence of the scene in their unique way.

The painting "Old Woman and Boy with Candles" exudes a sense of quiet anticipation and serenity. The central figures, the older woman and the young boy create a powerful contrast between youth and age, while their candles symbolize the transient nature of life and the hope they bring. The woman's contemplative expression hints at a hidden story, inviting viewers to imagine the thoughts and emotions that lie within her mind. The careful positioning of the candles and the interplay of light and shadow add depth and atmosphere to the composition, immersing the viewer in the scene.

The artist's skilful use of chiaroscuro, a technique that emphasizes the stark contrast between light and dark, enhances the dramatic effect of the painting. The soft glow of the candlelight illuminates the woman's weathered features, casting a gentle radiance upon her face. The warm and cool tones further enrich the visual experience, evoking a sense of harmony and balance.

Victor Ravet (1840-1895)

A Young Woman With Her Dog, 1876

oil on wood panel
signed and dated J.V.Ravet 1876 
panel dimensions 14.17 x 9.25 inches (36 x 23.5 cm)
frame 18.50 x 13.58 inches (47 x 34.5 cm)

Essay:
In this exquisite painting by Victor Ravet, we are transported to an elegant interior setting reminiscent of the grandeur of high-class homes. The focal point is a woman adorned in a shimmering pink gown, radiating grace and sophistication. Bathed in gentle light, her dress catches the glimmer, accentuating her beauty.

She holds a treat for a dog in her hand, enticing the furry companion who stands on its hind legs in eager anticipation. The canine's eyes fixated on the delicious morsel, capturing a moment of playful interaction between the woman and her loyal companion.

The scene takes on a narrative quality as the young woman's other hand delicately lifts a curtain, hinting at another room beyond. This subtle gesture adds depth to the composition, suggesting a world of hidden secrets and intriguing possibilities within the opulent surroundings.

Victor Ravet took inspiration from the Dutch Golden Age painters of the 17th century, such as Vermeer, Jacob Ochtervelt, and Gerrit Dou. This homage to their style and subject matter pays tribute to the timeless allure of domestic scenes, capturing a slice of life in a bygone era.

With meticulous attention to detail, Ravet masterfully recreates the textures and fabrics, immersing the viewer in the sumptuousness of the period. The soft play of light and shadow adds depth and a sense of tranquillity to the composition.

"A Young Woman With Her Dog" invites viewers to appreciate the beauty and serenity of an intimate moment frozen in time. It transports us to a world of refinement, evoking a sense of nostalgia for an era steeped in elegance and sophistication.
This wonderful painting by Victor Ravet is a testament to his skill and artistry, as he seamlessly blends historical influences with his own unique vision. It captivates with its charm, inviting us to immerse ourselves in a world where grace and beauty intertwine.

Karl Weise (1890 - 1947) Germany

Reflections of Contemplation, 1919 

oil on canvas
signed upper right Karl Weise 
canvas dimensions 25.19 x 34.44 inches (64 x 87.5)
with frame 30.70 x 39.76 inches (78 x 101 cm)
painted 1919

Essay:
This painting features a young girl sitting on a chair in a dimly lit room, illuminated by the soft glow of an orange-tinted ceiling lamp. This painting captures the essence of the candle-light genre of art, which originated in the 17th century and was popularized by Dutch and Flemish artists.

The candle-light paintings were characterized by the use of a single source of light, which was usually a candle, and were often accompanied by the inclusion of reflective surfaces such as mirrors, to create an ambiance of warmth and intimacy. Weise's painting is a beautiful example of this genre, as he uses the same technique of a single source of light to create a sense of depth and realism in the painting.

The girl in the painting is dressed in a vibrant red dress and white stockings, and her expression suggests a moment of contemplation. On the table, there is a photo frame, perhaps containing a picture of someone dear to her, and its reflection is visible in the mirror in the background. The piano on the right side of the painting is in shadow, while above it is a portrait painting with a golden frame, which adds to the ambiance of the room.

Karl Weise was a renowned painter known for his exceptional use of light and shadow in his paintings, which created a mesmerizing play of light that evoked a sense of depth and realism in his work. His paintings were highly appreciated during his lifetime, and they continue to be admired today for their timeless beauty and artistic merit.

In conclusion, Karl Weise's painting is a beautiful example of the candle-light genre of art. The use of a single source of light creates a warm and intimate ambiance, while the shadows add depth and dimension to the painting. The young girl's expression and the inclusion of the photo frame and portrait painting add a sense of storytelling to the painting, making it a truly captivating classic artwork. 

 

Provenance:
A Swedish private collection. 

HENRIC ANKARCRONA (1831-1917) SWEDEN

MOTIF FROM THE THEATRE OF MARCELLUS, 1879
MOTIV FRÅN MARCELLUSTEATERN, 1879  

oil on paper
signed with monogram och dated HA 79
19.5 x 14.5 cm
with frame 29 x 24 cm    

Provenance:  A Swedish private collection