OTHER

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. 

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.

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: 

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.

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.

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

Nils Forsberg (1842-1934) Swedish

Oil Sketch for the Painting "Gustavus II Adolphus before the Battle of Lützen"

oil on canvas
painted c. 1895-1899
stamp signed on the front and authenticated a tergo
canvas dimensions 18.30 x 24.21 inches (46.5 x 61.5 cm)
frame 22.44 x 28.34 inches (57 x 72 cm)

Essay: 
This piece is a oil sketch for the renowned masterpiece 'Gustavus II Adolphus before the Battle of Lützen', currently housed in the Göteborgs Konstmuseum. 

The allure of an unfinished oil sketch lies in its ability to offer a rare glimpse into the artist's creative process, revealing the initial conception of the motif. Historically, the spontaneous and often rapid execution of such sketches has fascinated art collectors. Notably, masters like Rubens and Van Dyck were known to intentionally leave their works in a seemingly 'unfinished' state, often completing them in under an hour.

Nils Forsberg's artistic journey took a pivotal turn when he left Sweden in his mid-twenties for a brief trip to Paris. This excursion, initially planned for just a few weeks, unexpectedly extended to a 35-year sojourn from 1867 to 1902. During this period, Forsberg honed his craft under the tutelage of the esteemed painter Léon Bonnat. It was at Bonnat's school where he crossed paths with the prominent Swedish artist Gustaf Cederström.

Forsberg's talent culminated in his largest work, 'Gustaf Adolf before the Battle of Lützen', which he showcased at the World Exhibition in Paris in 1900. The oil sketch we possess is a crucial preparatory study, focusing on one of the figures in this grand painting. This character is positioned to the far right, a detail more closely explored this image: 

Provenance:
From a private collection, Sweden

 

 

Anonymous, Cuzco School

A Portrait of Archangel Raphael With Fish

oil on canvas
1800s
canvas dimensions 22.24 x 15.74 inches (56.5 x 40 cm)
frame 26.77 x 20.47 inches (68 x 52 cm)

Provenance: A Swedish private collection

Charles Bouchez (1811-1882) French

A Soldier Blowing the Trumpet

oil on canvas
signed and dated ch. Bouchez 1842
canvas dimensions 6.29 x 4.13 inches (16 x 10.5 cm)
frame 10.23 x 7.87 inches (26 x 20 cm)

Provenance:
A Swedish Private Collection

Alf Wallander (1862-1914) Sweden

Café Scene (Café interiör)

oil on board
signed Alf Wallander
frame 31.49 x 26.77 inches (80 x 68 cm)
panel size 23.89 x 19.29 inches (60.7 x 49 cm)

Provenance:
Sotheby's London, lot 178, 07 June 2011, Sale Number: L11112;
Private Collection Sweden

Essay:
This masterful painting by the Swedish artist Alf Wallander (1862–1914) depicts a group of elderly men gathered around a table, their canes resting against its edges, in what appears to be a warm and lively café interior. The scene is brought to life with Wallander’s distinctive brushwork—broad, confident strokes imbue the piece with texture and vitality, capturing both the warmth of the setting and the individuality of each character. The rich palette of ochres, deep browns, and vibrant golden tones lends the composition a radiant, almost intimate atmosphere.

Alf Wallander, a prominent figure in Swedish art, began his career as a painter before achieving significant recognition in other mediums, such as ceramics. A student of the Stockholm Royal Academy of Fine Arts (1880–1885), Wallander also honed his craft in Paris under the guidance of Aimé Morot and Jean-Joseph Benjamin-Constant, exhibiting at the Paris Salon in 1889 and winning first prize at the 1889 World's Fair for his pastel work Tiggargubbe. 

As a founding member of "Opponenterna," Wallander was an advocate for progressive art movements in Sweden during the 1890s. His artistic journey saw a transition to Symbolism, inspired by his friend Oscar Björck, and later incorporated into his acclaimed ceramic designs.

Wallander's works are represented in esteemed institutions such as the National Museum in Stockholm, Gothenburg Art Museum, Thielska Galleriet, Prince Eugens Waldemarsudde, and internationally, at the Minneapolis Institute of Art and the Louvre Abu Dhabi. 

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) 

oil on canvas
73 x 60.5 cm
stamp signed 
painted 1920

Exhibited:
The Royal Academy Stockholm, 1942;
The Swedish-French Art Gallery, Memorial exhibition, 1942;
Gothenburg Art Gallery, Memorial exhibition, 1944;
Nationalmuseum Stockholm 1944;
Borås Art Gallery, 1952;
Åmells Konsthandel  – En internationell kubist, Stockholm & London, 2008;
Hälsinglands museum, A Cubist 1910s, 2011
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Cubistic vision

In the period following the First World War, the artist’s painting underwent a fundamental transformation. Dick Beer was influenced by various modernistic expressions. In Paris, the first wave of cubism, led by Pablo Picasso and Georges Braque, was established. It was a controversial artistic style. There was a heated debate about cubism, in which the artist broke up the motif into smaller components, sometimes called facets, in order to rebuild it on the flat surface of the pictorial plane. This manner of painting represented a complete break with preceding pictorial conventions and naturalistic painting.

Cubism was governed by theory, not practice, and critics claimed that the style was too intellectual for the general public and they predicted that it would disappear and that artists would return to a rather more classic expression.

The theories surrounding cubism and its various expressions opened up for a number of reinterpretations in the 1910s. Dick Beer was well aware of the cubist discussions. He embraced the ideas but created a varied, personal and emotive cubism in the years around 1918. His painting was often an explosive discharge with playful characteristics and a futuristic dynamism which accentuated the painting’s inherent speed and movement, as for example his works “Dancer” and “The Toy Box”. He also experimented with geometric compositions of buildings and landscapes, which were reminiscent of Paul Cézanne’s more cubic landscapes. Here, Beer’s colours were often muted, in blue, brown and red hues. He frequently returned to earlier motifs and reworked his canvases into a cubist style, as in “Dancer tying her shoes” and “Seated dancer“.

Contemporary art critics were appalled and Beer had to endure severe criticism. At one point, the artist published a reply in the daily Politiken, 1919, where he described his view on art:

“... because love for and understanding of art, ‘l’art pour l’art’, is not easy to achieve, and neither is it easy to comprehend the different movements’ or schools’ origin, goals, characteristic endeavours, etc. – These international phenomena require not only theoretical and art historical knowledge but (...) the ability to empathise with and feel for art, as its practitioners do”.

 

 

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

Portrait of Gabriele Varese (in Italian uniform), 1919

oil on canvas mounted on panel
116 x 90 cm 
stamp signature

Exhibited:
Solo exhibition, Stockholm, Nov-Dec 1917;
The Royal Academy Stockholm 1973;
Åmells Konsthandel  – En internationell kubist, Stockholm & London 2008
Hälsinglands Museum 2011
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Cubistic vision:
In the period following the First World War, the artist’s painting underwent a fundamental transformation. Dick Beer was influenced by various modernistic expressions. In Paris, the first wave of cubism, led by Pablo Picasso and Georges Braque, was established. It was a controversial artistic style. There was a heated debate about cubism, in which the artist broke up the motif into smaller components, sometimes called facets, in order to rebuild it on the flat surface of the pictorial plane. This manner of painting represented a complete break with preceding pictorial conventions and naturalistic painting.

Cubism was governed by theory, not practice, and critics claimed that the style was too intellectual for the general public and they predicted that it would disappear and that artists would return to a rather more classic expression.

The theories surrounding cubism and its various expressions opened up for a number of reinterpretations in the 1910s. Dick Beer was well aware of the cubist discussions. He embraced the ideas but created a varied, personal and emotive cubism in the years around 1918. His painting was often an explosive discharge with playful characteristics and a futuristic dynamism which accentuated the painting’s inherent speed and movement, as for example his works “Dancer” and “The Toy Box”. He also experimented with geometric compositions of buildings and landscapes, which were reminiscent of Paul Cézanne’s more cubic landscapes. Here, Beer’s colours were often muted, in blue, brown and red hues. He frequently returned to earlier motifs and reworked his canvases into a cubist style, as in “Dancer tying her shoes” and “Seated dancer“.

Contemporary art critics were appalled and Beer had to endure severe criticism. At one point, the artist published a reply in the daily Politiken, 1919, where he described his view on art:

“... because love for and understanding of art, ‘l’art pour l’art’, is not easy to achieve, and neither is it easy to comprehend the different movements’ or schools’ origin, goals, characteristic endeavours, etc. – These international phenomena require not only theoretical and art historical knowledge but (...) the ability to empathise with and feel for art, as its practitioners do”.

 

Henry Holmström (Swedish)

Dopparedagen, 1931

This is the original front cover for the Christmas Magazine - Dopparedagen 1931.
Watercolour on paper.