Produkte

Ture Ander (1881-1959) Sweden

A Bouquet of Flowers, 1936

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

Provenance: 
A private collection, Värmland, Sweden. 

Essay:
Nestled within the repertoire of Ture Ander (1881-1959), a member of the Racken Group, is "A Bouquet of Flowers, 1936," capturing the essence of nature's flowering beauty. The artwork offers a glimpse into a moment frozen in time—a moment where flowers in full bloom exude their ephemeral charm.

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

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

The painting comes with a beautiful dark brown frame. It is signed and dated '36,
We also have a digital photograph from 1936 taken in Ture Ander's studio, where this painting can be seen in the background, offering a glimpse into the artist's environment and creative process during that year.

Ture Ander (1881-1959) Sweden

A Värmland Lake View, 1945

oil on board
signed and dated Ture Ander 1945
unframed 61 x 75 cm (24.02 x 29.53 inches)
framed 71 x 84 cm (27.95 x 33.07 inches)

Provenance: 
A private collection Sundsvall, Sweden

Essay:
This landscape "A Värmland Lake View, 1945" by Ture Ander, completed in 1945, captures the serene beauty of a Värmland lake. The composition is dominated by soft, blue hues that give a tranquil feel, suggesting a calm day by the water. The trees in the foreground, depicted with a delicate blend of pink and earthy tones, add depth and contrast to the expansive lake and distant hills.

Ture Ander was born on September 17, 1880, in Askers socken, Örebro. At the age of 13, he moved to Stockholm to apprentice as a painter. While working during the day, he pursued evening courses at the Technical School, now known as Konstfack, where he graduated in 1903 with high honors in painting.

In 1905, Ander was accepted into the prestigious Artist Association School, studying alongside prominent artists such as Leander Engström, Isaac Grünewald, and Einar Nerman. His talent and dedication earned him a place in the notable 1909 exhibition "De Unga," which showcased emerging young artists.

Ander's quest for artistic growth took him to Paris, where he studied at the Académie Colarossi from 1911 to 1912. During his time in Paris, he was deeply influenced by the works of Paul Cézanne, whose approach to color and composition left a lasting impact on his style.

Upon returning to Sweden, Ture Ander married Ragnhild Franzén, a former student of the Fjæstad sisters. The couple eventually settled in Orrhöjda by Lake Racken in Värmland. Life was often challenging for the Anders, with financial difficulties being a constant companion. Despite these hardships, Ture continued to paint, while Ragnhild supplemented their income by gathering berries and mushrooms, and Ture himself turned to hunting and fishing.

The later years of Ture Ander's life were marked by profound sorrow following the prolonged illness and subsequent death of his beloved wife, Ragnhild. This period of personal grief is reflected in the somber tones and introspective mood of his later works.

 

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.

Ture Ander (1881-1959) Sweden

Lakeside Reflections, Värmland

oil on board
signed and dated Ture Ander 1945
unframed 33 x 48.5 cm (13.00 x 19.09 tum)
framed 49.5 x 64.5 cm (19.49 x 25.39 tum)

Provenance:
Architect Ludvig Mattsson (1888-1960), Arvika;
Thence by descent until we acquired it in 2024. 

Essay:
This impressionistic landscape painting by Ture Ander, a distinguished member of the Rackstad group, captures the tranquil beauty of a serene lake. The still waters mirror the surrounding foliage and sky, creating a captivating interplay of light and reflections.

The Artist: Ture Ander (1881-1959)

Ture Ander, Also known as "Blomstermålaren" (The Flower Painter), was born on September 17, 1881, in Asker, Örebro County, and passed away on February 4, 1959, in Arvika, Värmland. Initially trained in the craft of painting, Ander pursued formal art education at the Technical School in Stockholm from 1898 to 1903. He further honed his skills at the Artist’s Association School between 1905 and 1908 and at the Académie Colarossi in Paris during 1911-1912. Here, he was significantly influenced by Paul Cézanne and other Impressionists.

Ture Ander’s early work often reflects a delicate, impressionistic approach, which can be seen in this lakeside painting. The composition’s vibrant yet harmonious color palette and the meticulous brushwork convey a sense of calm and timeless beauty. This piece is believed to date back to around 1920, aligning with the period when Ander’s style was characterized by such impressionistic techniques.

Rackstad Group Connection

In 1921, Ander relocated to Arvika and became associated with the Rackstad group, a collective of artists inspired by the picturesque environment around Lake Racken in Värmland. Influenced by his contemporaries and the serene landscapes of the region, Ander’s works from this period often depict the natural beauty of Värmland, though he is best known for his floral still lifes.

This particular painting likely captures a scene from the surroundings of Arvika, rendered in soft, diffused light typical of his impressionistic period. The reflections in the water, the gentle contours of the hills, and the autumnal hues of the foliage exemplify his skill in portraying the subtleties of natural light and landscape.

Ture Ander (1881-1959) Sweden

The Tree by the Lake, Värmland

oil on canvas
signed and dated 
unframed 69 x 64 cm (27.17 x 25.2 inches)

Provenance: 
A private collection, Karlstad, Sweden. 

Essay:
This painting by Ture Ander, created in 1917, depicts a serene landscape from Värmland, Sweden. At the center of the composition is a large tree, likely a deciduous species, as suggested by the hints of autumn seen in both the tree and the meadow below it. The short brushstrokes used to depict the leaves and grass evoke a sense of movement and texture, typical of the early 20th-century artistic style. Another beautiful detail is the bluish-tinted forested mountains in the background, creating a sense of depth and tranquility.

Ture Ander played a significant role in the Racken group (Rackstadkolonin), an important artistic collective in Sweden at the time. Ander was born on September 17 in Askers socken, Örebro. At the age of 13, he became an apprentice painter in Stockholm, attending evening classes at the Technical School (now known as Konstfack) while working during the day. He earned his journeyman’s certificate in 1902, and the following year, he graduated from the Technical School with the highest honors in painting. In 1905, he was accepted into the Konstnärsförbundets skola (School of the Artists' Association), where he studied alongside notable artists like Leander Engström, Isaac Grünewald, and Einar Nerman.

In 1909, Ture Ander participated in the renowned "De Unga" exhibition. He furthered his studies in Paris at the Académie Colarossi from 1911 to 1912, where he was deeply inspired by Cézanne. His time in Paris influenced his painting style and introduced new artistic techniques into his work.

Ture Ander married Ragnhild Franzén, who had trained with the Fjæstad sisters, prominent figures in Swedish arts and crafts. After a few years, the couple moved to Orrhöjda by Lake Racken, where they led a modest life. Ragnhild gathered berries and mushrooms, while Ture hunted and fished to support their family. The later years of Ture's life were marked by sorrow. Ragnhild passed away after a prolonged illness, a loss that deeply affected Ture and is reflected in the somber tone of his later works.

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.

Unknown Artist, Possibly Gustaf Brandelius (1833-1884) 

Portrait of a Young Boy With Hat 

oil on tree panel
painted c.1850-70
panel  9.05 x 5.90 inches (23 x 15 cm)
frame 12 x 8.85 inches (30.5 x 22.5 cm)

Condition:
Very good, bright and clear colours. A small scratch in the upper right cloud. 

Victor Jernbergh (1882-1963) Sweden

Evening Glow by the River, 1917

pastel on paper
signed and dated V.Jernbergh -17
unframed 43 x 54 cm (16.93 x 21.26 inches)
framed 59.5 x 70.5 cm (23.43 x 27.76 inches)

Provenance: 
A Swedish private collection. 

Essay:

This evocative pastel painting by Victor Jernbergh, dated 1917, captures the serene and enchanting scene of a river at dusk. The central composition is dominated by a lone pine tree in the foreground, which creates a striking depth and leads the viewer's eye into the tranquil landscape beyond. The soft, fading light of twilight is beautifully rendered, casting a warm glow over the river and the surrounding hills, giving the entire scene a sense of calm and stillness.

The meticulous details and the rich texture of Jernbergh’s pastel strokes highlight his mastery in capturing the delicate interplay between light and nature. The interplay of shadows and the gentle, flowing lines of the river enhance the painting's dreamlike quality. This piece is a testament to Jernbergh’s ability to convey both the grandeur and the quiet intimacy of the natural world.

The Artist:
Victor Jernbergh (1882-1963) was a Swedish artist, draftsman, and graphic designer. Born on April 28, 1882, in Eskilstuna, he was the son of Carl Johan Jernbergh and Fredrika Karolina Carlström. Jernbergh's artistic journey began with studies at the Technical School in Stockholm (1902-1903), followed by advanced training in drawing and lithography in Berlin (1904-1906). He further honed his skills under the tutelage of Carl Wilhelmson from 1913 to 1915 and studied etching with Axel Tallberg from 1915 to 1917.

Throughout his career, Jernbergh exhibited widely across Sweden, showcasing his work in cities such as Eskilstuna, Gävle, Nyköping, and at the prestigious Konstnärshuset in Stockholm. He participated in numerous group exhibitions with the Graphic Society and the Original Woodcut Association and was featured in the Swedish Art exhibition at Valand in Gothenburg.

Jernbergh's oeuvre includes landscapes from Norrland and Spain, rendered in oil, pastels and watercolour, as well as rustic scenes depicted through woodcuts. As an illustrator, he contributed to several fairy tale books. His public works include an altarpiece for Jukkasjärvi Church and a baptism chapel in Nyköping. His graphic works are part of the collections at the National Museum, the Eskilstuna Art Museum, and the Östersund Museum.

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.

Wilhelm Dahlbom (1855-1928) Sweden

Moonlight, Idö, 1912

oil on canvas
signed and dated Wilhelm Dahlbom Idö 1912.
unframed 36 x 43 cm
framed 54 x 60 cm 

Condition:
Overall very good condition, the original gold frame has some minor repairs. 

Provenance:
Bukowskis Finland, 2 April 2008, lot 645, called "Kuunvaloa - Månsken. (1912)", Illustrated on page 88 of the catalog;
A private collection Finland. 

Essay:
We are pleased to present this exquisite piece by Swedish artist Wilhelm Dahlbom, entitled "Moonlight, Idö, 1912". This work captures the serene reflection of moonlight on water, the scene unfolding on a rugged shoreline where the relentless caress of the sea has smoothed the rocks over time. It is an evocative portrayal of nature's timeless beauty and power.

The location depicted is Idö, which could refer to the islands of the same name either in Västervik or Norrtälje, known for their picturesque landscapes. The painting is in excellent condition and It is housed within an elegant gold frame, which is most likely the original frame. 

Wilhelm Dahlbom (1855-1928) was the son of entomologist Anders Gustaf Dahlbom. He honed his artistic skills at the Royal Swedish Academy of Fine Arts in Stockholm and continued his studies abroad, particularly in Paris, but also in Italy and Germany. Dahlbom's passion for landscape painting is evident in his works, which predominantly feature central Sweden and Skåne's beech forests, often a favored subject.

His paintings is today housed in prestigious museum collections such as Nationalmuseum in Stockholm, the Malmö Art Museum, and the Swedish Portrait Collection at Gripsholm Castle. 

William Gislander (1890-1937) Swedish

Landscape With Ducks

oil on canvas
signed and dated William Gislander 1934
canvas dimensions 25.98 x 31.88 inches (66 x 81 cm)
frame 29.52 x 35.43 inches (75 x 90)

Provenance:
A Swedish Private Collection, Skåne.