Produkte

Ola Larsson (1863-1939) Sweden

Portrait of a Girl, 1929

oil on canvas
signed and dated 
unframed: 28 x 22 cm
framed 38 x 32 cm 

Provenance: 
A Swedish private collection.

Essay:

This charming portrait of a young girl, painted by Ola Larsson in 1929, invites viewers to wonder about her thoughts. Capturing her with a delicate and thoughtful expression, the painting reflects Larsson's exceptional talent for portraying human character with psychological sensitivity and artistic precision.

Ola Larsson (1863–1939) was a gifted painter, sculptor, and graphic artist whose early promise was widely recognized. After formal training at prestigious art academies in Copenhagen and Stockholm, and travels to artistic hubs such as Paris and Berlin, Larsson returned to his family’s farm in Vemmenhög, Sweden. Although his career was somewhat constrained by personal responsibilities and his involvement in local affairs, Larsson remained a dedicated artist throughout his life.

"The Village School Teacher" (1892)
One of Ola Larsson's most celebrated works, this portrait depicts his former teacher, Per Jönsson (1828–1901), seated at his desk. 

Known as "Vemmenhög’s own painter," Larsson was celebrated for his ability to capture both the physical likeness and inner essence of his subjects. His style, shaped by the intimate realism of the Danish art tradition, combines a keen eye for detail with an understated emotional depth. This portrait exemplifies his talent as a portraitist, showing not just the girl’s outward appearance but offering a glimpse into her contemplative nature.

Today, his works can be found in several notable collections, including the Nationalmuseum in Stockholm, Statens Museum for Kunst in Copenhagen and
Malmö museum.

What might this girl have been pondering as she sat for her portrait? Her gaze, soft yet introspective, leaves an open-ended question that resonates with anyone who admires Larsson’s skill in portraying life's quiet moments.

Olle Hjortzberg (1872-1959) Sweden

A Yellow Rose, 1917

watercolor painted on an envelope
indistinctly signed with monogram
unframed 18.5 x 12.5 cm (7.28 x 4.92 inches)
framed 34.5 x 29 cm (13.58 x 11.42 inches)

Provenance: 
A Swedish private collection. 

Olle Hjortzberg (1872-1959) Sweden

Summer Evening in Montreux, 1902

watercolor on paper
signed and dated OLLE HJORTZBERG MONTREUX JULI. 02.
unframed: 29 x 23 cm (11 3/8 x 9 in)
framed: 39.5 x 33 cm (15 1/2 x 13 in)

Exhibited:
Presumably at The Royal Academy in Stockholm, Olle Hjortzberg’s Retrospective Exhibition, 1942, listed as no. 31: “Landskap från Bouveret”, watercolor, 1902. Provenance: Ruth Dalén.

Condition Report:
The watercolor is in very good condition. The colors are vibrant and clear. The frame is newly made and fitted with UV-protected, anti-reflective glass.

Essay:
This exquisite watercolor by the Swedish artist Olle Hjortzberg (1872–1959) captures a serene view of Montreux, Switzerland, in July 1902. Known for his masterful use of color and light, Hjortzberg renders the scene with a breathtaking interplay of soft blue tones and shimmering reflections on the water. The glowing lanterns in the background lend the painting a poetic atmosphere, evoking the quiet charm of a village nestled by Lake Geneva.

Hjortzberg, celebrated as a painter, graphic artist, and muralist, studied at the Royal Academy of Fine Arts in Stockholm and later traveled extensively through France, Italy, Greece, and Palestine. His diverse artistic achievements include church decorations, stained glass designs, and book illustrations, with notable contributions to Sweden's cultural heritage such as his work for Stockholm’s Dramatic Theatre and Uppsala Cathedral. His art often merges traditional influences with modern sensibilities, as seen in his monumental church murals and other decorative commissions.

Montreux, located along the shores of Lake Geneva, has long been admired for its stunning landscapes and tranquil ambiance, attracting artists and writers seeking inspiration. Hjortzberg's depiction of the town reflects his keen eye for capturing the subtle beauty of a fleeting moment.

Old photography from the same location. 

This painting not only showcases Hjortzberg’s technical skill but also offers a glimpse into his travels and inspirations during an era when European landscapes were a popular subject for artists. 

Olof Arborelius (1842–1915) Sweden

Farmstead in Dalarna, 1864

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

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

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

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

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

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

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

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

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

Olof Arborelius (1842-1915) Sweden

Landscape, likely from the Uddevalla area

oil on canvas
signed O.Arb.s 
unframed: 25 x 35 cm (9 7/8 x 13 3/4 in)
framed: 43.5 x 53 cm (17 1/8 x 20 7/8 in)

Provenance:
A private collection Lysekil, Sweden

Essay:
This beautifully rendered landscape by Olof Arborelius captures the serene stillness of a summer’s day, likely set in the lush surroundings of the Uddevalla region on Sweden’s west coast. Rolling forested hills meet the quiet surface of the water, which reflects the greenery with striking clarity. A few scattered cottages nestle between the trees, evoking a timeless sense of Swedish rural life. The painting comes in its finely preserved ornamented original frame (with some minor flaws)

Olof Arborelius (1842–1915) was a prominent Swedish painter known for his depictions of folk life and sweeping landscapes. Born in Orsa, Dalarna, Arborelius was deeply influenced by his native region and the traditions of Swedish genre painting. After studying for seven years at the Royal Swedish Academy of Fine Arts, he embarked on an extended study tour across Europe. Upon his return in 1872, he became an associate of the Academy and later served as both instructor and professor, shaping generations of Swedish artists.

Though he aligned himself with the progressive Opponent movement in the 1880s, Arborelius remained stylistically rooted in the naturalism of the Düsseldorf School. His works reflect a deep attachment to realism and a gradually evolving use of more vibrant colors and monumental compositions in his later years. He was often noted—and sometimes criticized—for his distinctive use of green, most famously by Fritz von Dardel.

Arborelius’s works are represented in numerous major museum collections, including the Nationalmuseum in Stockholm, the Gothenburg Museum of Art, the Ateneum in Helsinki, and several regional museums throughout Sweden. 

This painting is a fine example of Arborelius’s mature landscape work—an evocative and tranquil scene, imbued with both technical finesse and heartfelt connection to the Swedish countryside.

Olof Arborelius (1842-1915) Sweden

Ruins of Ancient Rome, c. 1870-72

Oil on paper mounted on cardboard
signed with monogram OA
unframed 15.5 x 24 (15.5 x 24 inches)
framed 24 x 33 (24 x 33 inches)

Provenance:
The artist's estate;  
Erik Thorwald Arborelius (1883-1974), the artist's son

Condition: 
The painting has recently been restored by a professional art conservator. The colors are now significantly brighter and sharper, much like when the artist originally created the work. The frame is newly made and is included in the price.

Essay:
This beautiful oil sketch, painted en plein air, was created by Swedish artist Olof Arborelius during his stay in Italy from the fall of 1870 until January 1872. The painting features a charming depiction of ancient Roman ruins—either a city wall or an aqueduct—surrounded by lush trees under the clear Italian sky. With loose brushstrokes and a soft, atmospheric touch, the artist captures the natural light and Mediterranean ambiance, demonstrating his profound understanding of plein air painting.

Arborelius was heavily influenced by French artistic trends of the time, particularly in his color sensitivity and study of light and air. His time in Italy was critical for his artistic development, marking the height of his mastery in capturing the delicate interplay of light, color, and atmosphere.

Several of Arborelius’ Italian oil studies, including similar small-format plein air works, were later exhibited at various prestigious exhibitions. These include the Svenska konstnärernas förening memorial exhibition in 1910, the Svensk-Franska Konstgalleriet in Stockholm in 1931, and a memorial exhibition at the Nationalmuseum in 1943. 

Viggo Loos praised Arborelius' Italian studies for their "sensitivity to color" and "intense exploration of light and atmosphere," highlighting these works as a high point in the artist's career. Loos emphasized how Arborelius skillfully captured the essence of the Mediterranean landscape, using vibrant tones and delicate brushwork to convey the interplay of light and air.

Moreover, Folke Holmér, the curator of Arborelius’ 1943 memorial exhibition, described his Italian sketches as some of the most painterly pieces of his early production, worthy of comparison with the best works Swedish artists had produced in Italy.

Among his notable works in major collections are three of his Italian oil studies held at the Nationalmuseum: View from Rome Towards the Arch of Septimius Severus (NM 1930), The Interior of the Colosseum (NM 1931), and Italian Landscape (NM 1932). All were purchased in 1916 from the artist’s estate after his death.

Olof Arborelius (1842–1915) Sweden 

Summer Reflection, Engelsberg

oil on board
c. 1880-1890
signed with monogram OA
unframed: 23 x 17 cm (9 x 6 3/4 in)
framed: 33.5 x 27 cm (13 1/8 x 10 5/8 in)
handcrafted frame by Stockholm Förgyllning och Bildhuggeri included.

On the reverse: printed estate label reading “Painted by Olof Arborelius, certified,” signed by E. T. Arborelius, the artist’s son.

Provenance:
The artist’s estate, with stamp on the reverse; Swedish private collection.

Essay:
This intimate plein air study by Olof Arborelius captures the quiet beauty of a sunlit forest edge reflected in still water. The confident, spontaneous brushwork and delicate handling of light and shade suggest it was painted directly from nature—en plein air—a method Arborelius often used, especially during his time in Engelsberg, where this work was most likely created.

Engelsberg held a special place in Arborelius’s artistic life and is also the setting for his most famous painting, Sverigetavlan, now in the collection of Nationalmuseum in Stockholm. Though modest in scale, this small panel radiates presence and mood, demonstrating Arborelius’s skill in conveying atmosphere with a restrained palette and expressive brushwork. The painting is presented in a hand-gilded frame made by Stockholm Förgyllning och Bildhuggeri.

Olof Arborelius was a key figure in Swedish genre and landscape painting. Born in Orsa in 1842, he studied at the Royal Swedish Academy of Fine Arts and spent several years traveling and studying in Europe before returning to Sweden. In 1902, he was appointed professor at the Academy, where he influenced a new generation of artists.

Though associated with the Düsseldorf school and the academic tradition, Arborelius embraced elements of the opponentmovement’s freer realism in his later work. Known especially for his depictions of rural life in Dalarna, his palette evolved over the years toward clearer tones and more monumental compositions.

Arborelius is represented in several major collections, including the Nationalmuseum, Göteborgs Konstmuseum, Ateneum in Helsinki, and Nordiska Museet. His legacy also lives on through sketchbooks and materials donated by his descendants to the Academy of Fine Arts, including a remarkable early stamp collection now held at the Postmuseum in Stockholm.

Olof Sager-Nelson (1868-1896) Sweden

Bruges, 1894

oil on canvas
unframed 37 x 24.5 cm
framed 53 x 40 cm
handmade oak frame by
Stockholms Förgyllnings och Bildhuggeri.

Condition:
Recently restored by Sonia Leon. When we received it, the brushstrokes were almost entirely obscured by a thick, old varnish. Today, it is in very good condition, and the colors have been revived. The frame, which is made of oak, is handcrafted by Christer Björkman.

Provenance:
Ina Colliander, relative of the artist.

Exhibited:
Thielska Gallery, Stockholm, "Olof Sager-Nelson and his
contemporaries – Anywhere out of the world" September, 2015.
Dalsland Museum.

Essay:
This painting by Olof Sager-Nelson, executed during his time in Bruges in 1894, is a splendid example of symbolism. It depicts a serene canal in Bruges, surrounded by sunlit houses whose reflections gracefully dance upon the water's surface. The choice of Bruges as a subject reflects Sager-Nelson's fascination with the town, a sentiment he shared with many artists of his time. In his correspondence, he often spoke of the struggle to complete paintings that he could send back to Sweden, highlighting his dedication and the financial support he received from patron Pontus Fürstenberg.

Sager-Nelson's life was marked by significant personal challenges, including the loss of his mother at a young age and his father's emigration to the USA after being convicted of embezzlement. Opting for an artistic path after an unsuccessful attempt to study engineering, he found his calling in the arts, studying under Bruno Liljefors at Valand's art school and later drawing inspiration from contemporaries like Édouard Manet, James McNeill Whistler, and Paul Gauguin in Paris. His paintings from 1894, among which this piece is a prime example, are considered his most accomplished works.

Symbolism, as a movement, sought to express the idea that reality could be symbolized by forms and colors that evoke an emotional response rather than directly represent the world. Sager-Nelson's work reflects this philosophy through its emotive use of color and composition, seeking to capture the essence and atmosphere of Bruges rather than a mere photographic representation.

The painting's previous ownership by Sager-Nelson's relative, Ina Colliander, adds to its historical and sentimental value. Sager-Nelson's exploration of symbolism was not just a mere artistic endeavor but a deep, personal journey into the complexities of human emotions and the mysteries of existence, often reflecting his own intense feelings and inner world.

This work stands as a testament to Sager-Nelson's brief but impactful career, capturing the beauty of Bruges through a symbolist lens. It invites the viewer to look beyond the physical world into the emotional and spiritual realms that Sager-Nelson navigated with such passion and sensitivity.

Oscar Jansson, Arvika, Sweden

Sunburst, 1906
(Swedish original title: Solbrytning) 

oil on canvas
signed and dated OSCAR JANSON 1906
unframed: 99.5 x 120 cm (39 1/4 x 47 1/4 inches)
framed: 115 x 135 cm (45 1/4 x 53 1/8 inches)

Provenance: 
A private collection, Karlstad. 

Condition Report: 
The painting has undergone careful restoration over several months by our conservator. It has been cleaned and given a fresh varnish. Some areas have minor retouching, and there are a few fine vertical cracks in the paint, as visible in the photographs. The painting is now in very good condition and comes with a newly crafted gilt frame included in the purchase.

Essay:
This captivating landscape by the elusive Swedish artist Oscar Jansson (sometimes referred to as Janson) exemplifies his rare but striking body of work. Painted in 1906, Solbrytning showcases a dramatic interplay of light and shadow as the sun pierces through heavy clouds, illuminating the Värmland landscape. The composition features a dense forest in the foreground, rendered in muted tones, with distant hills fading into soft blues and greys. Above, the expansive sky dominates the scene, capturing the fleeting beauty of natural light breaking through the atmosphere.

Portrait of Oscar Jansson, 1907
The artist in his early twenties, this photograph provides a rare glimpse of the enigmatic painter.

Jansson’s ability to convey the subtleties of the Nordic landscape is remarkable, particularly considering his limited oeuvre. Very little is known about the artist’s life, except for a small number of extant works. A photograph from circa 1907 depicts four of his paintings displayed together, all sharing compositional and stylistic similarities with Solbrytning. These works suggest Jansson’s deep engagement with capturing the ephemeral qualities of light and the poetic mood of Sweden's natural scenery.


Four paintings by Oscar Jansson displayed together, circa 1907

The large dimensions of this painting—measuring 115 x 135 cm with frame—make it a commanding centerpiece. Its atmospheric depth and masterful handling of light invite the viewer to linger, evoking a profound sense of connection to the landscape.

A Scandinavian Landscape View, c. 1920


signed Osc.Lycke
oil on canvas
canvas dimensions 104.5 x 147.5 cm
frame dimensions 111.5 x 154.5 cm

Oscar Lycke was a Swedish artist from Sundsvall. He is best known for his impressive colourful landscape paintings in a national romantic and realism style. The motifs were often mountains, forests, rapids, and lakes painted with his self-taught style. Lycke exhibited many times in northern Sweden, but also at one time in New York, with great success. This painting is from Hälsingland, which is located in the middle part of Sweden; it depicts a Landscape view with a dramatic sky. Lycke captured the famous nordic light in the best possible manner; this part of Sweden was back then - and still today a popular go-to place for tourism.

Provenance: A Swedish private collection.

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.