INVENTORY

NILS KREUGER (1858-1930) SWEDEN

COWS GRAZE IN A MEADOW, 1907

pencil, paper
paper 9 x 14 cm
frame 18 x 23.5 cm

Provenance: 
The artist;
Gifted to the artist's sister, Elisabeth Gustafva Kreuger;
Passed down to her daughter, Rut Elin Moren Lindell;
Inherited by her son, Bo Lindell (1831-2012);
Subsequently passed to his son, Ulf Lindell (born 1956).

Essay:
This drawing by Nils Kreuger, a Swedish artist born on October 11, 1858, in Kalmar, and who passed away on May 11, 1930, in Stockholm, showcases a quintessential theme found in his work. The sketch depicts several cows grazing in a field, captured swiftly and with a confident hand, embodying the essence of Kreuger's artistic pursuits. The landscape, drawn in 1907 as indicated, is indicative of Kreuger's fascination with the Swedish countryside, a theme recurrent in his oeuvre post his return from France in the late 19th century.

Nils Kreuger, a pivotal figure in Swedish art, was deeply influenced by his studies in Paris and his interactions with artists at the Grez-sur-Loing artist colony. His early works in France were influenced by the plein-air painting of the French countryside, characterized by a sensitive use of color and light to capture various times of day and weather conditions. Upon his return to Sweden, Kreuger became a founding member of the Varberg School, alongside Richard Bergh and Karl Nordström, transitioning to a style that emphasized the symbolic and national-romantic over the purely observational. This period saw him focusing on landscapes, often featuring grazing livestock, with a stylistic shift influenced by the likes of Paul Gauguin and Vincent van Gogh. Van Gogh's influence is particularly noted in Kreuger's adoption of a unique technique involving dots and small lines, which articulated the terrain and enriched the emotional content of his work.

In later years, Kreuger’s technique evolved further, replacing ink lines with color patches applied with vigorous brushstrokes, contributing to a mosaic-like surface in his paintings. Despite the influence of van Gogh, Kreuger’s work seldom sought the same intensity of expression, instead finding a unique voice through the formal and decorative qualities of his lines and colors.

Kreuger’s contributions to Swedish art are significant, with his work displayed in prestigious museums such as the Nationalmuseum in Stockholm, the Thielska Galleriet, and internationally. 

Carl Johansson (1863 - 1944) Sweden

Sturehäll, 1892

oil on canvas
signed Carl Johansson Sturehäll 1892 
unframed 30 x 45 cm
framed 40 x 54.5 cm
hand crafted black frame by Christer Björkman is included.

Provenance: 
Bukowskis, April 1990, lot 47, "Insjövik med vass" (1892), hammer price 7.135 €

Essay:

This painting called Sturehäll by Carl Johansson, crafted in 1892 when the artist was 29 years old, offers a captivating glimpse of Sturehäll, near Sturehov in Norsborg. This piece, stemming from a critical period just after Johansson's return from Grez-sur-Loing—a place renowned for inspiring Swedish artists in the late 19th century—showcases the tranquil yet dynamic essence of nature. At first glance, the scene conveys a serene lakeside adorned with reeds along the shore of Lake Mälaren, but a closer examination reveals a more dramatic natural depiction. Johansson's rapid and confident brushwork breathes life into the reeds, while his technique of incising with the reverse end of the brush adds a layer of drama and texture, enhancing the painting's depth through impasto.

This early work is particularly rare and fascinating due to the significant evolution of Johansson's style over his career. In his later years, Johansson sought to recollect his early pieces, indicative of their importance in his artistic journey. The painting not only reflects Johansson's mastery over landscape but also his innovative approach to capturing the essence of his subject matter.

Johansson, born in Härnösand, drew inspiration from various landscapes, including Northern Sweden, France, Tenerife, and Italy, painting them with the sun positioned at 30 degrees north-northwest. His artistic talent was nurtured under the guidance of Edvard Perséus and at the Royal Swedish Academy of Arts. Johansson's journey through art was marked by his association with the Opponents and his exploration of Impressionism, influenced by luminaries such as Claude Monet and Camille Pissarro.

This piece not only embodies Johansson's transition into a more impressionistic style but also serves as a testament to his enduring connection to the Swedish landscape, particularly the pastoral and historic setting of Sturehov. The manor, built in 1781 in the Gustavian style, and its surrounding parklands and agricultural landscapes, offer a window into Sweden's rich cultural heritage, echoed in Johansson's painting.

Old map shows Sturehov and Sturehäll. 

Oscar Ohlson (1847-1912) Sweden

Halmstad Harbour Seen From the North, 1889

oil on canvas
signed and dated Oscar Ohlson 1889

unframed: 27 x 40 cm (10.6 x 15.7 inches)
framed: 36.5 x 50.5 cm (14.4 x 19.9 inches)

Compare: 
An almost identical painting with the same motif and executed in the same year can be found in the Halland Art Museum (Hallands konstmuseum), inventory number HMK000588.

Essay:
The painting "Halmstad Harbour Seen From the North" by Oscar Ohlson is a captivating snapshot of daily life and historical architecture, frozen in time from the year 1889. With a meticulous eye for detail, Ohlson has rendered approximately 25 boats in the harbor, each brimming with the quiet bustle of daily chores. The painting invites viewers to step into a moment where people converse, work, and seek respite from the sun under shared umbrellas, while wisps of smoke subtly rise from several boats, suggesting the presence of life and activity beyond the canvas.

In this vibrant scene, a man carries a sack, perhaps fresh merchandise from one of the docked vessels, while others engage in conversation, highlighting the social tapestry of the harbor. Ohlson's masterful use of light reflects on the water, creating a shimmering path that leads the eye to the majestic Halmstad Castle, which adorns the right side of the painting. This historic building, beautifully situated by the Nissan river and not far from the sea, is a testament to Halmstad's past as a Danish territory. Constructed in the early 17th century during the reign of King Christian IV, the castle stands as a reminder of the town's rich history and cultural heritage.

The first building to the right, once part of this historic tableau, has been removed to accommodate modern necessities, replaced by a road that now runs through its former site. This juxtaposition of past and present is a poignant commentary on the evolution of cities and the sacrifices made in the name of progress.

Halmstad itself, a town that straddles the Nissan river, retains much of its early 20th-century character in its city core. Low brick and half-timbered houses, some dating back to the 17th century, dot the landscape. The town center on the west side of Nissan is bordered by remnants of early 17th-century fortifications, including the 1600s castle, Norre Port from 1601, and King Charles XI's path along the old fortress wall. At the heart of the town is Stora Torg with Carl Milles' Europa and the Bull fountain from 1926, and the town hall built in 1938. The city layout, influenced by Renaissance planning, converges at Stora Torg, which is also home to the town's sole medieval building, the brick hall church of St. Nikolai from the 14th century.

Oscar Ohlson (1847-1912), a native of Linneryd, Småland, was a multifaceted individual. Beginning his career with a legal degree from Uppsala University in 1870, Ohlson's passion for the arts led him to pursue music studies before dedicating himself to art under the guidance of Alfred Wahlberg. Settling in Borås, he imparted vocal lessons and crafted his artistic legacy. Ohlson's oeuvre primarily consists of moonlit landscapes and idyllic scenes from Öresund and Blekinge, capturing the tranquil beauty of the Swedish countryside.

The "Halmstad Harbour Seen From the North" stands not only as a beautiful work of art but also as a historical document, allowing us a glimpse into the vibrant life of Halmstad during the late 19th century, as seen through the delicate brushstrokes of Oscar Ohlson.

Oscar Ohlson (1847-1912) Sweden

"Långälven, Värmland"

oil on canvas
signed Oscar Ohlson
unframed 25.5 x 38.5 cm
framed 35.5 x 48.5

Essay:
This enchanting Swedish painting, dated circa 1890, is believed to depict the tranquil waters of Långälven in Värmland, a testament to Ohlson's prowess in capturing the essence of the Swedish countryside.

The scene is a gentle narrative, where we witness a family moment frozen in time. Parents stand by their daughter on a wooden dock, poised to embark on a journey across the reflective waters. The young girl, dressed in period attire, appears eager and curious, a universal symbol of youth's anticipation for adventure. Her parents, dressed in the fashion of the late 19th century, exude a sense of calm and assurance.

Ohlson's brushwork brings the scene to life with a delicate interplay of light and shadow, mirroring the cloud-speckled sky on the lake's surface. The background is dotted with other vessels, suggesting the shared pleasure of the day's end on the water.

Oscar Ohlson (1847–1912), born in Linneryd, Småland, and later settling in Borås, was a multifaceted artist who, after pursuing law, found his true calling in the arts. A student of Alfred Wahlberg, Ohlson's works are characterized by moonlit landscapes and idyllic themes from around Öresund and Blekinge. This painting is a fine example of his landscape oeuvre, reflecting a romantic yet realistic portrayal of Swedish nature and leisure at the turn of the century.

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.

Albert Larsson  (1869-1952) Sweden

Twilight Landscape with Windmill and Church, 1891

oil on canvas
signed and dated a.L 91
unframed 31 x 48 cm (12.20 x 18.90 inches)
framed 38 x 54 cm (14.96 x 21.26 inches ​)

Provenance:
A Swedish private collection.

Essay:
"Twilight Landscape with Windmill and Church" is a captivating work by Swedish artist Albert Larsson, painted in 1891 when Larsson was 22 years old. The painting captures a landscape steeped in the quietude of dusk, with a sky ablaze in hues of red and orange, signalling the end of the day. The silhouettes of trees are rendered with astonishing detail against the twilight sky, showcasing Larsson's early mastery of light and shadow.

Dominating the pastoral scene is a traditional windmill, its blades stilled against the sky, alongside the spire of a church that pierces the horizon. These structures, together with the meticulously painted trees, are testaments to the human presence within the natural world, suggesting a harmony between the two.

A notable feature is the small water-filled furrow in the field, which catches the fading light of the sky, creating a pathway of reflection leading the eye through the composition. This detail highlights Larsson's skill in using light to draw attention to elements within his paintings.

Albert Larsson, born on November 4, 1869, in Malmö and passing on August 31, 1952, in Lund, was an artist deeply influenced by his education in Copenhagen at the Art Academy and later at Peder Severin Krøyer's painting school. Settling in Malmö from 1900, Larsson co-founded the Skånska konstnärslaget (Scanian Artists’ Association) and Skånes konstförening (Scanian Art Association). His role as a commissioner for the association's exhibitions across the region was pivotal.

Larsson's oeuvre is most cherished for its mood landscapes, which often capture the ethereal qualities of light over the Scandinavian terrain. His works, including "Moonlight over the Plain" at the Gothenburg Museum of Art and "A Farm at Dusk" at the Malmö Art Museum, exhibit his enduring fascination with the poetic interplay of light and atmosphere. "Twilight Landscape with Windmill and Church" stands as an early indication of his profound ability to evoke mood and place through his art, making it a prized piece for collectors of Scandinavian landscapes.

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.

Ture Ander (1881-1959) Sweden

A Värmland Landscape, 1941

watercolor on paper
signed Ture Ander
dated a tergo 1941
unframed approx. 24 x 32 cm
framed 35.5 x 43 cm
new frame with UV protected glass is included


Provenance:
A private collection. Värmland

Essay:
"A Värmland Landscape" is a watercolor painting by Ture Ander, an artist who was a member of the Racken Group. This artwork, incorrectly titled "Vår i Värmland, 1941" (Spring in Värmland, 1941) on its verso, actually depicts a serene autumnal scene, a testament to Ander's affinity for the Värmland landscape. Golden birches command the foreground, elegantly framing the composition on the left, while a soft, bluing forest provides a tranquil backdrop. A field, radiant in yellow, further enriches the scene, embodying the essence of autumn's embrace. Ture Ander's masterful application of a vivid, lilac hue on select spots infuses the painting with dynamic energy, a hallmark of his artistic prowess.

Ture Ander, born on September 17 in Askers parish, Örebro, embarked on his artistic journey at a tender age. Moving to Stockholm at thirteen, he apprenticed as a painter while attending evening courses at the Technical School (later known as Konstfack). Earning his journeyman's certificate in 1902, Ander graduated from the Technical School the following year with commendable grades in painting. His artistic path led him to the Konstnärsförbundet School in 1905, where he studied alongside notable figures like Leander Engström, Isaac Grünewald, and Einar Nerman. Ander's participation in the influential exhibition "De Unga" in 1909 marked a significant milestone in his career.

Further honing his skills, Ander studied at Colarossi in Paris between 1911 and 1912, drawing inspiration from the works of Cézanne. His personal life intertwined with his artistic endeavors when he married Ragnhild Franzén, who studied under the Fjæstad sisters. The couple settled in Orrhöjda near Racken, enduring financial hardships with resilience and simplicity—Ragnhild gathering berries and mushrooms, while Ture hunted and fished.

The later years of Ture Ander's life were shadowed by sorrow following Ragnhild's prolonged illness and eventual passing. This profound loss resonated in Ander's art, mirroring the depth of his emotions and the intricacies of human experience. Through works like "A Värmland Landscape" Ture Ander's legacy endures, capturing the fleeting beauty of nature and the poignant hues of life itself.

Carl Johansson (1863-1944) Sweden

Summer Landscape with Road, 1889

oil on canvas
signed and dated Carl Johansson . 89 .
unframed 27 x 39 cm
framed 41,5 x 53 cm

Provenance:
The previous owner bought it in 1988 at Åmells Stockholm for 106.000 SEK. 

Literature: 
Åmells exhibition catalogue, 1988, nr 5, "Sommarlandskap med väg"

Essay:
Carl Johansson's "Summer Landscape with Road" is an exquisite landscape that encapsulates the serene beauty of the Swedish countryside. Painted in 1889, the same year Johansson showcased his work at the Exposition Universelle in Paris, one can't help but wonder if this very painting was among those displayed at the fair.

Exposition Universelle de 1889

Johansson's early works, such as this one, are exceedingly rare, making "Summer Landscape with Road" not only a visual delight but also a collector's gem. The painting's magnificent gold frame enhances the bright, vivid colours of the small-format artwork, creating an impactful presence.

Carl Johansson's blue impressionistic depictions of Northern Sweden earned him the nickname "Ultramarine Johansson", and his paintings are celebrated in prestigious collections, including the Nationalmuseum in Stockholm, Kalmar Art Museum, and the municipality of Hudiksvall.

Winter Landscape 1890, mixed media, Nationalmuseum, inv no NMH 196/1963. 

Erik Tryggelin (1878-1962) Sweden

Sankt Matteus Church, 1907

oil on board
signed and dated E.Tryggelin 3/5 1907
unframed 51 x 34.5 cm
framed 62 x 45.5 cm

Provenance: 
A Swedish private collection. 

Essay:
The painting we have for sale, executed by Swedish artist Erik Tryggelin on May 3rd, 1907, presents an atmospheric and dynamic view of Sankt Matteus Church in Stockholm. This piece is a prime example of Tryggelin's ability to blend figurative compositions with urban motifs, particularly capturing the evening moods of cityscapes. The church, set against a dramatic sky that swirls with tumultuous clouds and birds in flight, conveys a feeling of timelessness and stoic beauty amidst the changing weather.

Erik Tryggelin was not only a painter but also a skilled draftsman, printmaker, and photographer. His oeuvre primarily consists of city scenes and evening ambiences, especially from Stockholm, Visby, and Vadstena. 

Sankt Matteus Church, the subject of this painting, is the parish church in Sankt Matteus parish in the Stockholm diocese, located in the Vasastan area of central Stockholm. Erected based on the designs of architect Erik Lallerstedt at the intersection of Vanadisvägen and Dalagatan between 1901-1903, it originally served as a chapel in the then Adolf Fredrik's parish. The building exudes a mix of Art Nouveau and Neo-Gothic styles, with its tall spire and ornate facades, which Tryggelin has masterfully captured in this painting.

Tryggelin's work offers a glimpse into Stockholm's society at the dawn of the 20th century, a city caught between the old and the new, where traditional forms and emerging modernism intersected. His paintings, such as the one of Sankt Matteus Church, are significant for their cultural and historical value, capturing the essence of Stockholm’s architectural and cultural history. This piece is not only a visual treat but a fragment of Stockholm's soul, as seen through the eyes of a dedicated artist who chronicled the city's narrative with his brush.

Carl Kjellin (1862-1939) Sweden

Sunset Over the Lake, 1919

oil on canvas
signed and dated C Kjellin 19
unframed 76 x100 cm
framed 91 x 116 cm

Provenance:
A gift from the artist to doctor Knut Harald Giertz;
Malma Gård Östergötland.


Essay:

"Sunset Over the Lake" by Carl Kjellin is a Nordic Light painting capturing the ephemeral beauty of a lake at sunset. The vibrant canvas, dominated by a brilliant orange sky reflecting upon the water's surface, evokes a sense of tranquility and awe. Kjellin's use of intense colors and the contrast between the dark foreground of trees and bushes creates a depth that draws the viewer into the landscape. The meticulous brushwork suggests movement through the serene stillness of nature, with a lone bird in flight enhancing the painting's dynamic feel.

Born on January 10, 1862, in Sweden, Carl Kjellin was not only an accomplished artist but also a respected drawing teacher. His education at the Royal Swedish Academy of Arts in Stockholm from 1881 to 1886, and subsequent studies in the Netherlands and Düsseldorf, as well as etching under Axel Tallberg, equipped him with a diverse skill set. Kjellin's oeuvre includes portraits and scenes from Bergslagen, featuring forges, blast furnaces, and charcoal kilns, reflecting his deep connection with Swedish landscapes.

His contributions to exhibitions at the Royal Academy, the Swedish General Art Association, and the Swedish Artists' Association were noteworthy, earning him scholarships in 1890 and 1891. Kjellin's legacy as a drawing instructor at the Technical School in Stockholm from 1898 to 1927 left a significant impact on the generations that followed. His works, including several drawings, are held in the collections of the Nationalmuseum and the Nordic Museum in Sweden. 

James Howe Carse (c.1818-1900)

The Daily Tasks of Rural Life, c. 1860

oil on canvas
signed J Carse
unframed 45.5 x 60 cm 
framed 61 x 77 cm 

Essay:
This serene landscape painting is by James Howe Carse, a Scottish-Australian artist whose lineage and mentorship are deeply rooted in the artistic traditions of his time. Carse's works are quintessential representations of the Romantic era, where the emphasis on pastoral beauty and harmonious nature-human interactions are profoundly depicted.

Born into a family of artists, James Howe Carse was the son of Alexander Carse, also known as 'Old Carse,' who was recognized for his Scottish genre scenes. Having been named after the Scottish animal painter James Howe, it's evident that Carse's destiny was to become an artist from the beginning. His artistic journey was shaped by the Royal Scottish Academy, where his father was a founding member, and this foundation is palpable in the pastoral tranquility that his paintings convey.

This painting "The Daily Tasks of Rural Life" is a testament to Carse's ability to capture the sublime in everyday rural life. It showcases a bucolic setting during the early autumn, as suggested by the slightly yellowed foliage. At the forefront, we see a resident amidst his livestock—cows, ducks, and chickens—with a loyal dog by his side, perhaps herding the animals. The scene is completed by the figure of a woman, who could be the man's wife, standing by a fence, waving goodbye at the gate. This suggests a narrative of departure or daily routine, a moment caught in time where life's simple activities are glorified.

The modest dwelling in the background, with its gentle wisp of smoke rising from the chimney, further roots the scene in its rural context, evoking a sense of warmth and homeliness. The light in the painting is exquisite, casting a soft glow that enhances the feeling of tranquility and harmony with nature.

Carse's technique reflects his Scottish training and the influences of his time spent in Australia and New Zealand. His works often feature landscapes and natural beauty, sometimes with indigenous figures or local wildlife, depicting the unique qualities of the regions he painted. His brushwork, while detailed in his earlier works such as our painting that we believe is from around the 1860s, and later become more loose and more impressionistic as he matured, although his later pieces sometimes suffered from repetitiveness and varied quality due to personal struggles.

"The Daily Tasks of Rural Life" is a representation of a time and a lifestyle that are both long past, yet its allure remains timeless. Carse's art captures the essence of a landscape's mood, offering a window into the peaceful daily life of a bygone era. His work, while not always celebrated in the grand manner of some of his contemporaries, carries a quiet romanticism and a sincere reverence for the natural world, as evidenced in this beautiful pastoral scene.

Comparable sales: 


Lawsons Auctions Australia, "Harvest Landscape", jan 2023, Sold for 7.500 € including buyers premium. 

Mauritz Lindström (1849-1923) Sweden

Landscape With Mill at Sunset

oil on wood panel
signed AML
unframed 14.5 x 24.3 cm
framed 24.5 x 34.5 cm

Provenance: 
A Swedish private collection.

Essay:
The small yet stirring painting "Landscape With Mill at Sunset" showcases the remarkable talent of Swedish painter Mauritz Lindström. He was a respected artist whose landscapes are imbued with atmospheric depth, often called the Swedish Peder Mönsted. 

Lindström married Anna Elisabeth Helena von Götz in 1888. His artistic journey took him from the Royal Swedish Academy of Arts in Stockholm to the influential art scenes of Munich and Paris, and he even spent a significant period in England, primarily London, from the early 1880s until 1889.

The painting depicts a windmill perched atop a hill, its sails stark against the soft glow of the setting sun—a frequent subject that Lindström returned to, capturing the evocative moods of the landscape. 

Lindström joined the Opponents, a group challenging the academic norms of the time, and his work was featured in their groundbreaking exhibitions. His pieces, including "Autumn Landscape" and "Motif from Scotland," the latter purchased during an Opponent exhibition in 1885 is in the Nationalmuseum Stockholm collection.

A member of the Artists' Association, Lindström was closely aligned with their objectives until he chose to follow his path following a division in the organization in the early 1890s. This painting, with its reflective waters and the tranquil expanse of the land under a dramatic sky, is a testament to his lifelong dedication to capturing the essence of nature's quiet moments.

Jan Frans Soolmaker (Flanders 1635‑1685)

Shepherd with Sheep, Cows and a Goat in a Landscape

oil on relined canvas
canvas size 56 x 53 cm
frame included

Compare with the signed painting by Soolmaker sold at Sotheby’s London, 7 July 1999, lot 453.

Provenance:
The collection of Swedish Prince Fredrik Adolf (1750-1803);
The collection of Pär Ulmgren (1767-1846), no. 32;
The collection of Gösta Stenman (1888-1947), inv. no. 885;
Engineer and politician Gustaf Henry Hansson (1894‑1976), probably acquired from the above;
Thence by descent until 2021

Essay:
This painting depicts a pastoral scene that is attributed to the artist Jan Frans Soolmaker, an artist known for his Italianate landscapes and scenes that often feature equestrian and Arcadian elements. The painting is not signed but is attributed to Soolmaker, relating it to a known signed work by the artist that was sold at Sotheby’s London in 1999.

The scene is suffused with the warm glow of a setting or rising sun, casting a soft light that is characteristic of Soolmaker’s landscapes. It shows a shepherd guiding a group of cattle across a shallow stream, with the animals taking center stage in the composition. The animals are rendered with careful attention to their forms and the play of light on their bodies, which is a hallmark of Soolmaker's work. The landscape is composed of a rocky terrain with trees and shrubbery, creating a sense of depth and natural beauty that invites the viewer to explore the scene further.

The background suggests a vast, open landscape with distant mountains, which adds to the Italianate feel of the painting. The sky is dramatic, with clouds catching the light of the sun, contributing to the overall serene yet dynamic atmosphere of the work.

The provenance of the painting is notable, having been in the possession of significant historical figures such as Swedish Prince Fredrik Adolf, and later The collection of Pär Ulmgren, The collection of Gösta Stenman, and Engineer and politician Gustaf Henry Hansson.

Potential buyers have the option of choosing between a newly made gold frame or an older brown frame, which allows for personalization in how the work is presented.

Soolmaker’s work is often compared to that of Dutch painter Nicolaes Berchem, whose style he emulated. Soolmaker's landscapes reflect a similar sensitivity to light and composition, making his works sought after for their beauty and historical significance. Despite the smaller body of work left by Soolmaker, due to his short career, his paintings are valued for their craftsmanship and the legacy of the artist’s brief but impactful contribution to the Dutch Italianate landscape genre.

Frans van Severdonck (1809 - 1889)

Rooster and Hens at Daybreak, 1862

oil painting on wood panel
signed and dated
unframed 6.50 x 9.06 inches (16.5 x 23 cm)
framed 10.83 x 13.19 inches (27,5 x 33,5 cm)

Provenance:
A Swedish private collection.

Essay:
”Rooster and Hens at Daybreak” is a delightful painting of rural life, created by the Belgian artist Frans van Severdonck (1809-1889). Van Severdonck, a native of Brussels, spent his lifetime capturing the essence of his surroundings, dedicating his artistic endeavors to the city where he was born. While the intricacies of his training are not well-documented, the finesse and skill apparent in his works suggest a sophisticated level of formal education in the arts.

Specializing in animal portraiture, van Severdonck's paintings often showcase a peaceful coexistence of farm animals, depicted with a sense of harmony and tranquility that is both soothing and endearing. The painting is from 1862 and is no exception to his masterful approach. It features a vivid landscape inhabited by a proud rooster, attentive hens, and playful chickens. This particular piece conveys a simple yet vibrant farmyard scene, teeming with life and character.

Each bird is portrayed with remarkable attention to detail, from the texture of their feathers to the intensity of their gaze, imbuing each with a distinct personality. The landscape itself is rendered with a pastoral charm, the clear sky and distant horizon line providing a perfect backdrop to the pastoral activity in the foreground. The naturalistic color palette and the delicate play of light and shadow enhance the overall sense of authenticity and bucolic beauty.

Van Severdonck's ability to capture the essence of pastoral existence and his evident affection for his subjects are evident in this work. His paintings, though often modest in dimensions, are celebrated and coveted by collectors worldwide for their exquisite detail and the tranquil atmosphere they encapsulate.

Karl Tirén (1869-1955) Sweden

Vårvinter II, c. 1909

signed Karl Tirén
oil on board
unframed 59 x 98 cm
framed 76 x 105 cm

Provenance: A private collection in the north of Sweden

This painting, "Vårvinter II," painted around 1909 by the Swedish artist Karl Tirén, is a remarkable representation of a landscape in the cusp of the seasonal transition from winter to spring. The canvas is alive with the muted yet rich colours of the winter landscape, a subject close to Tirén's heart and frequent in his oeuvre. The scene is set against a backdrop of a gently sloping mountain, its snow-covered peak basking in the soft light of a spring sun, suggesting the lingering chill of winter yet the promise of warmer days. The foreground is dominated by an intricate play of melting snow and emerging rocks, with ice-capped pools reflecting the azure sky, a testament to the artist's skill in capturing water in its various states.

Bare trees, with their branches etched against the sky, speak of resilience and the imminent return of foliage. The composition is skillfully balanced, with the eye being led across the melting streams that meander through the landscape. The painting's execution, with its broad, confident brushstrokes, conveys both the tranquility and the dynamic nature of the season's transformation. "Vårvinter II" is not just a mere depiction of a place but a narrative of the cycle of seasons, a visual journey through time and change.

Karl Tirén's multifaceted background as a musician, violin maker, Sami researcher, and stationmaster enriches his artistry, infusing his work with a depth of cultural and environmental understanding. Trained in Germany, France, and England, Tirén brought a European sensibility to his representations of the Nordic landscapes.

Tirén's legacy persists through his varied contributions and is celebrated in his representation at the Jämtland County Museum in Östersund, among others. "Vårvinter II" stands as a serene yet evocative piece within this collection, inviting viewers to contemplate the beauty of the north and the transient moments between the seasons.

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: 

Lindorm Liljefors (1909-1985) Sweden

Goldfinches, Taormina

oil on board
signed and dated Taormina 83 Lindorm L 
unframed 19 x 27 cm
framed 28.5 x 36 cm

Provenance:
A Swedish private collection 

Essay:
This exquisite painting by Lindorm Liljefors, the talented Swedish painter, draughtsman, and sculptor, is a testament to his profound connection with nature and his artistic lineage. Born on September 18, 1909, in Ytterjärna, Södermanland, and passing away on February 20, 1985, in Skyttorp, Uppsala County, Lindorm was the son of the renowned artist Bruno Liljefors. Educated at the Royal Swedish Academy of Arts in Stockholm from 1928 to 1934, under the tutelage of Alfred Bergström and Wilhelm Smith, he honed his skills before embarking on study trips to France and Italy in 1934.

Our painting "Goldfinches, Taormina" showcases a serene natural landscape, inspired by the picturesque scenery of Taormina, it captures the essence of Taormina's natural beauty, combining it with Liljefors' unique artistic perspective. The landscape is richly detailed with lush green grass, delicate flowers, and rugged stones. The focal point is two European goldfinches (Steglits): one gracefully perched on the ground and the other captured in mid-flight, adding a dynamic element to the tranquil scene. This portrayal not only highlights Liljefors' skill in rendering natural beauty but also reflects his personal love for the outdoors, a theme consistent throughout his career.

Lindorm Liljefors followed in his father's footsteps, both in his choice of motifs and his perspective on nature. His oeuvre includes a variety of nature scenes, such as hunters with dogs, crows on ice, badger families, ducks near openings in the ice, and forest interiors. As a sculptor, he focused on depicting humans and animals in motion. His passion for hunting and dogs, coupled with his contributions to the magazine "Svensk Jakt," further underscored his deep engagement with the natural world.

Carl Johansson (1863-1944) Sweden

Landscape View, Ramsele, 1915

oil on canvas
signed and dated Carl Johansson 1915
unframed 58 x 70 cm (22.8 x 27.6 inches)
framed 69 x 82 cm (27.2 x 32.3 inches)

Essay:
This painting by Carl Johansson captures the scenic beauty of Ramsele, featuring the Faxälven river winding through a typical Niplandskap. The Niplandskap, characteristic of Sollefteå, was shaped during the retreat of the Ice Age, when the Ångermanälven and Faxälven rivers shifted course repeatedly. Their streams carved the distinctive steep sandbanks, known as "nipor," leaving open plains nestled between these formations. Nipor are built from fine-grained sand and soil, creating an iconic landscape. From the vantage point of the Granvågsniporna Nature Reserve, visitors can enjoy sweeping views of one of Ådalen's most picturesque areas.

Carl Johansson, born in Härnösand, is celebrated for his portrayal of Nordic landscapes, earning him the title "Norrlandsmålaren." Influenced by French Impressionists such as Claude Monet and Camille Pissarro, Johansson transitioned from meticulously detailed traditional scenes to atmospheric works with a distinct Nordic sensibility. His mature style often employed cooler tones and a hallmark ultramarine palette, a feature that earned him the affectionate nickname "Ultramarin-Johansson."

Johansson’s distinguished career included studies at the Royal Swedish Academy of Fine Arts and exhibitions at major international venues, including the 1889 World’s Fair in Paris and the 1915 Panama-Pacific International Exposition. His works are represented in prominent collections, such as the Nationalmuseum in Stockholm and Kalmar Konstmuseum.

Nils Kreuger (1858-1930) Sweden

Cattle on the Meadow

oil on wood panel
signet N.KREUGER.
unframed 13.5 x 24.5 cm
framed 26.5 x 37 cm

Provenance: 
A private collection, Belgium.

Essay:
This exquisite oil painting on panel, measuring 13.5 x 24.5 cm, is a beautiful piece by Nils Kreuger, a distinguished Swedish painter. The artwork depicts five cattle grazing on a green meadow, a scene that encapsulates the tranquil beauty of rural life. In the distance, the horizon is graced by the sea, adding a serene backdrop to the pastoral theme.

Nils Kreuger's unique style is evident in this painting, particularly in his characteristic use of black lines that trace the forms of the cattle. This stylistic choice adds a dynamic and almost rhythmic quality to the composition, capturing the essence of the animals in a way that is both artistic and lifelike.

The painting is further enhanced by a newly crafted, elegant black frame that complements its aesthetic and ensures its preservation.

Nils Kreuger (1858–1930) was a master of landscape and rural scene painting. His journey as an artist began at the Royal Swedish Academy of Fine Arts, although illness interrupted his studies. He later continued his education under Edvard Perséus and in Paris at the Académie Colarossi. Kreuger's early works were often painted en plein air in Grez-sur-Loing, showcasing his affinity for capturing natural light and atmosphere, particularly at dawn or dusk.

He was a key figure in the Opponenterna movement, which challenged the outdated methods of the Royal Academy. His move to Varberg led to the formation of the Varbergsskolan, a group that veered towards Romantic nationalism in landscape painting, influenced in part by Paul Gauguin and Van Gogh.

Kreuger's later years saw him in Stockholm, with summers in Öland where he painted cows and horses. His style evolved, introducing lighter palettes and dots, and he also ventured into illustration and furniture design. Despite challenges with his eyesight in his later years, Kreuger continued to paint, leaving behind a legacy that is celebrated in major Swedish art museums such as; Nationalmuseum Stockholm, Prins Eugens Waldemarsudde, the Thiel Gallery, and the Gothenburg Museum of Art.

This painting, with its delicate interplay of light and shadow and its representation of rural tranquility, is not only a testament to Kreuger's artistic skill but also a piece of Swedish cultural heritage. It is an ideal acquisition for collectors and enthusiasts of Nordic art, offering both aesthetic pleasure and historical significance.