If you are seeking to purchase classic paintings, you have come to the right place. Our extensive collection spans from the early 16th century to the early 1900s and features a carefully curated selection. Additionally, we offer complimentary international shipping on all orders.
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.
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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.
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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.
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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.
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Albert Larsson - Twilight Landscape with Windmill and Church
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.
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oil on board signed Ferd Fagerlin unframed 24 x 18 cm
Provenance: A Swedish private collection.
Essay: This oil painting called The Old Stone Stairwayby 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.
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oil paint on wood panel unframed 12 x 22 cm framed 21.5 x 31.5 cm
Provenance: It was given as a gift from his widow Ellen Hintze to relatives of Carl Skånberg.
Essay: Carl Skånberg is known for his delicate brushwork that echoed the early influence of Impressionism in Swedish art, Skånberg's work typically carries a certain mystique and emotional depth.
In this probable French landscape, Skånberg employs a monochromatic gray scale with hints of a faintly blue sky, reminiscent of the Grisaille technique. With simple, thin brush strokes, he painted a landscape that invites contemplation and introspection. The silhouette of a lone man walking in the middle of the painting adds a narrative element, while the sparse trees add to the composition's solitude. The visible snaking trail of the brush across the canvas speaks to the artist’s method and the physical act of painting.
Carl Skånberg, born on June 12, 1850, in Norrköping, Sweden, overcame personal hardships and societal obstacles to become a prolific painter, despite a serious illness that caused him great suffering. His determination to study and excel in the art led him from a painter's workshop in Stockholm to the influential circles of the Royal Swedish Academy of Fine Arts and eventually to the artistic meccas of Paris and Italy. Skånberg’s life was rich with experiences that were as diverse as his friendships with prominent artists of his time such as Ernst Josephson, Carl Fredrik Hill och Carl Larsson.
Carl Skånberg's life, though marked by his remarkable artistic contributions, was also touched by personal moments of both joy and sorrow. In 1881, seeking a reprieve for his health, Skånberg traveled to Italy—a country renowned for its inspiring landscapes and rich cultural heritage. It was there, amidst the historic beauty of Rome, that he encountered Ellen Hintze. Their meeting, likely at a Scandinavian social club—a haven for expatriates and artists alike—blossomed into love, culminating in marriage at the Consulate with the notable playwright Henrik Ibsen among the guests, a testament to the vibrant Scandinavian community that thrived in Italy during that period.
However, this joyous occasion was shadowed by Skånberg's declining health. Afflicted by Pott's disease since childhood, the artist suffered from respiratory complications, which were further exacerbated by his smoking habit. The hope that Italy's milder climate would provide relief was short-lived. Plagued by relentless asthma attacks, Skånberg was compelled to return to Sweden for treatment.
Despite the best efforts of his doctor, Axel Munthe—an esteemed physician known for his work with respiratory illnesses—Skånberg's health continued to deteriorate. The young artist's life was cut tragically short when he passed away in Stockholm, merely six months after his return from Italy and at the age of 32.
Skånberg's landscapes, coastal scenes, and later Italian-inspired works are a testament to his enduring spirit and artistic legacy, with his paintings being displayed in prominent museums such as the Nordiska museet, Nationalmuseum, and Göteborgs konstmuseum.
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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.
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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
"Summer Landscape with Road" offers a glimpse into the idyllic Swedish countryside through its masterful depiction. The scene is bathed in the distinctive light of the sun positioned at 30 degrees north-northwest, a unique aspect of Johansson's artworks. The viewer's eye is drawn along a winding dirt road that meanders through a tranquil pastoral landscape. Birch trees, with their white bark and tender green leaves, stand tall and sway gently, marking the passage toward a distant homestead nestled beside a calm lake. The rustic wooden fences and the clear sky, dotted with soft, billowing clouds, evoke a sense of peaceful solitude.
Johansson's meticulous attention to detail and colour is evident in every brushstroke, from the lush greenery to the soft, earthy path leading to the horizon. The artist's signature use of light not only highlights the natural beauty of the North but also enhances the sense of depth and realism in the painting.
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.
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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.
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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.
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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.
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oil on wood panel signed A M Lindström unframed: 14.5 x 24.3 cm (5.7 x 9.6 inches) framed: 25 x 34.5 cm (9.8 x 13.6 inches)
Provenance: A Swedish private collection.
Essay: In this charming painting "First Snow" Mauritz Lindström captures the fleeting moment where autumn's vibrant hues meet winter's gentle embrace. Known for his atmospheric landscapes, Lindström was born on April 26, 1849, in Björksta parish, Västmanland County, and passed away on December 11, 1923, in Stockholm. His legacy as a Swedish painter is enriched with scenes that gracefully bind the viewer to nature's ever-changing palette.
This piece showcases Lindström's keen eye for the seasonal transition, as the first snowfall lightly dusts the ground, highlighting the contrast between the snow-covered foreground and the still-colorful leaves clinging to the trees. A quaint house nestles in the background, hinting at human presence within this tranquil wilderness. The composition is a masterful blend of warm autumnal oranges and yellows set against the cool whites and greens of early winter, bringing forth a harmonious coexistence of seasons.
Educated at the Royal Swedish Academy of Arts and further refined in Munich and Paris, Lindström also spent a considerable part of his career in England. His works, like this one, often reflect a deep understanding of light and atmosphere, inviting viewers to not just see, but feel the chill in the air and the quiet beauty of the first snow.
"First Snow" stands as a testament to Lindström's artistic journey and his contributions to the Opponents movement, which challenged the conventional art norms of his time. It's a moment captured in oil that speaks to the quiet solitude and beauty of the Swedish countryside. As with his other works, this painting is not just a visual treat but an emotional experience, offering a serene and introspective glimpse into the soulful corners of nature.
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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.
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Jan Frans Soolmaker - Shepherd with Sheep, Cows and a Goat in a Landscape
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.
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oil on canvas signed and dated A.Genberg 1927 unframed 66 x 87 cm framed 76,5 x 97,5 cm
Provenance: Private collection Sweden; Bukowskis Auctions, lot 1535397
Essay:
The Winter Pond is a captivating painting by Anton Genberg, a Swedish artist famous for his naturalist style landscapes. This particular piece, created in 1927, invites viewers into a serene winter scene marked by the stark contrast of a round, open water hole against the white expanse of snow.
Anton Jonsson Genberg, born on June 20, 1862, in Östersund, was a painter whose works are synonymous with the majestic mountainous terrains of Sweden. His journey into art began after his secondary education when he attended the Tekniska skolan in Stockholm and received private lessons from Oscar Törnå. His formal education continued at the Royal Swedish Academy of Fine Arts under the tutelage of Per Daniel Holm, where his talent was recognized with several medals.
Genberg's career was punctuated by exhibitions not just in his homeland at the Konstnärshuset but also internationally, in cities such as Berlin, St. Louis, Buenos Aires, and Munich. The Baltic Exhibition in 1914 was a highlight, showcasing his expertise in capturing the enchanting snowy landscapes of Norrland. Dalarna and Jämtland also featured prominently in his oeuvre.
Beyond his paintings, Genberg contributed to the Swedish art community as Vice-Chairman of the Svenska konstnärernas förening and as a board member of the Sveriges allmänna konstförening. His contributions were recognized in 1922 when he was elected a member of the Royal Academy.
Genberg's personal life included a move to Nacka, where he resided in the historic Villa Wallbeck-Hansen and later, in a villa of his own design by architect Per Benson. Unfortunately, he lived there for only a few years before passing away in 1939 at the age of seventy-seven.
Today, Genberg's legacy endures through his works displayed in prestigious institutions like the Nationalmuseum and the Moderna museet.
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Frans van Severdonck - Rooster and Hens at Daybreak
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.
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oil on board signed Ture Ander unframed 46 x 54.5 cm framed 57 x 66 cm
Essay: Ture Ander was a Swedish painter renowned for his participation in the artist community the Racken group. At the age of 13, Ander moved to Stockholm as a painter's apprentice, balancing his work with evening classes at the Technical School, which later became known as Konstfack, an eminent art, craft, and design college in Sweden.
In 1905, Ander was admitted to the Artists’ Association School where contemporaries like Leander Engström, Isaac Grünewald, and Einar Nerman also studied. His work was featured in the prominent exhibition "De Unga" in 1909. Furthering his studies in Paris at the Colarossi Academy between 1911 and 1912, Ander drew inspiration from Paul Cézanne, which significantly influenced his style.
Ander's personal life was closely intertwined with his art. He married Ragnhild Franzén, who was an apprentice to the Fjæstad sisters, and they eventually settled in Orrhöjda near Lake Racken. The family often experienced financial hardship, with Ragnhild gathering berries and mushrooms and Ture supplementing their income through hunting and fishing. The later years of Ture’s life were marked by sorrow after the prolonged illness and death of his wife, Ragnhild, which deeply impacted his artwork.
This painting "Höst vid Racken" (Autumn at Lake Racken) from 1951 is a testament to Ander's deep connection with the Racken area, which was a significant place for him and the rest of the Racken group—an artists' colony where he was one of the members.
Created towards the end of his career, this work captures the serene beauty of autumn by the lake. The painting showcases Ander's mature style with a rich palette of yellows and oranges, reflecting the seasonal foliage, and an atmospheric portrayal of the sky and water, conveying the melancholic yet peaceful essence of the season. This piece, with its lush brushwork and contemplative mood, not only illustrates the natural beauty of the Racken landscape but also serves as a poignant reflection of Ander's emotional state during his later years.
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pastel crayon, paper signed and dated N.Kreuger 17 juli (July) 1904 unframed 11 x 14 cm framed 20.5 x 23 cm
Provenance: Fritzes konsthandel, Stockholm
Essay: This exquisite small pastel crayon painting by the renowned Swedish artist Nils Kreuger measuring just 11 x 14 cm. Signed and dated July 17, 1904, the artwork delicately portrays two horses at the brink of the Baltic Sea, a tranquil scene likely from the island of Öland. These equine subjects are rendered with a softness and intimacy that is characteristic of Kreuger’s work from this period. The horses, standing calmly at the water's edge, embody a pastoral stillness, possibly reflecting the timeless nature of the island itself.
Kreuger's career, after his studies at Edvard Perséus painting school and his influential Parisian period, was marked by a transition from the sensibilities of French plein air to a more synthesized, emotive style reminiscent of Paul Gauguin and Vincent Van Gogh. By the 1890s, the artist had fully embraced this new direction, evident in his depictions of the Swedish countryside, particularly Varberg and later Öland. His summers on Öland brought forth a series of works where cows and horses amidst the distinctive landscapes became his primary subjects. These animals, often set against the vast expanse of the alvar or the shallow coastal waters, were captured with an increasing lightness of touch and color following the turn of the century, as Kreuger began to incorporate the influences of Neo-Impressionism into his art. This painting is a testament to that evolution, capturing the essence of his subjects with a blend of warmth and the emerging vibrancy of his later palette. The pastoral theme and the delicate execution of the horses in their natural habitat showcase Kreuger's skill in illustrating the harmonious relationship between nature and the animals he so fondly depicted.
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oil on canvas unframed 9,45 x 13,00 inches (24 x 33 cm)
Essay: This exquisite painting, attributed to the circle of Charles Antoine Coypel, presents a mythological scene. Though the artist remains unknown, the work clearly echoes the style of the early 18th century, with soft, dreamlike qualities and a masterful use of light and shadow. The tableau likely portrays the legendary figures of Thetis and Hephaestus (Faistos), with the young Achilles – a narrative rich with heroism and divine intervention.
The central figures are rendered with a tenderness and dynamism that speak to the era's fascination with Greco-Roman mythos. Thetis, with her maternal grace, appears to interact with Hephaestus, whose artisanal prowess was renowned even among the gods. Young Achilles, later to become the hero of the Trojan War, listens intently, hinting at the weighty fate that awaits him.
A delicate, rosy shimmer pervades the canvas, bringing an ethereal glow that enlivens the mythic scene. This effect, coupled with the painting's warm palette and the subtle play of light, creates a sense of immediacy and importance, as if the viewer is privy to a pivotal moment in the ancient stories. This piece is a true treasure for those who appreciate the blend of history, mythology, and art.
The beautiful golden frame is included in the purchase.
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