LANDSCAPES

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

First Snow

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.

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.

Anton Genberg (1862 - 1939) Sweden

The Winter Pond, 1927

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. 

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.

Ture Ander (1881-1959) Sweden

Autumn at Lake Racken, 1951

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.

Nils Kreuger (1858-1930) Sweden

Two Horses by the Shore, 1904

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.

Charles Antoine Coypel (1694-1752) Circle of.

A Mythological Scene

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.

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.

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, Nordingrå, 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:
We are delighted to present a beautiful landscape by Carl Johansson (1863-1944), a piece that showcasing the breathtaking landscape of Nordingrå, part of the High Coast in Sweden. This area, known for its unique geology and as a UNESCO World Heritage Site, has inspired Johansson's creation, capturing the essence of the region's majestic beauty.

The painting features a meandering stream flowing through a vast landscape, flanked by sloping terrains on either side. In the background, the blue-hued mountains create a serene backdrop, harmonizing with Johansson's signature blue tones, a characteristic that earned him the nickname "Ultramarin Johansson." This artwork is a testament to Johansson's deep connection with the landscapes of Norrland, from where he drew many of his motifs.

Born in Härnösand, Carl Johansson's artistic talents were recognized early on by his drawing teacher, Conny Burman, at Klara Elementary School. His formal art education began at the Royal Swedish Academy of Arts in 1882, where he studied under Edvard Perséus and Per Daniel Holm. Johansson's career was marked by his affiliation with the Opponents movement in 1885, leading to his departure from the Academy.

Johansson's artistic journey included travels and studies in France, Tenerife, and Italy, reflected in the diverse landscapes featured in his works. He participated in several international exhibitions, including the World's Fair in Paris (1889), the Centennial Exhibition in Buenos Aires (1910), and the Panama Pacific International Exposition (1915). His first solo exhibition was held in 1933 at the Konstnärshuset in Stockholm, followed by several others, including a posthumous exhibition at Åmells art gallery in 1988.

Throughout his career, Johansson evolved from painting detailed landscapes in a traditional style to adopting a more impressionistic approach, influenced by French artists Claude Monet and Camille Pissarro. His later works, marked by a notable blue tone, showcased his unique style, blending nationalistic sentiments with a photographic analytical approach.

This particular painting, "Landscape View, Nordingrå, 1915" painted in 1915, is a fine example of Johansson's impressionistic style and ultramarine color palette. It not only highlights Johansson's technical prowess and demanding standards in painting but also encapsulates his love for the landscapes of Norrland.

Carl Johansson's legacy continues to be celebrated, with his works displayed in prestigious institutions like the Nationalmuseum in Stockholm, Kalmar Art Museum, and Hudiksvall municipality.

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.

 

Anton Genberg (1862 - 1939) Sweden

Winter Landscape, 1919

oil on canvas
signed and dated Anton Genberg 1919
unframed 73.5 x 101 cm
framed 84 x 111.5 cm

Essay:
We are honored to present for sale a captivating winter landscape painting by Anton Jonsson Genberg, completed in 1919. This piece is a pristine representation of Genberg's artistry, known for his naturalistic depiction of the Scandinavian wilderness.

The work features a peaceful open brook in the foreground, meticulously painted with intricate and elongated brushstrokes that reflect the calm flow of the water. Following the waterline, a stand of birches emerges, almost glowing with a delicate lilac hue in the painting's twilight. Above, the sky is painted in an impressionist style, with broad strokes of white, blue, and lilac, creating a harmonious blend that captures the fleeting light of a Nordic winter.

The subject of the painting likely draws from the natural surroundings of Storängen in Stockholm, where Genberg resided in 1919. This painting is not only a visual masterpiece but also a piece of history from the artist's own life and surroundings.

Anton Genberg (1862-1939) was a celebrated Swedish painter, born in Östersund and later settled in Storängen, Stockholm. His body of work mainly features the landscapes of northern Sweden, particularly the mountainous regions. Genberg's education at the Technical School in Stockholm and the Royal Swedish Academy of Fine Arts.

Throughout his career, Genberg's exhibitions spanned across Stockholm, Berlin, St. Louis, Buenos Aires, and Munich, among others, highlighting his international recognition. He was also a significant figure in Swedish art societies, serving as the vice-chairman of the Swedish Artists' Association and a member of the board for the General Art Association of Sweden.

The artist's personal journey is reflected in his art. Genberg lived in the national romantic Villa Wallbeck-Hansen in Storängen, a location that inspired many of his works until he moved to a villa designed by architect Per Benson in 1924.

This painting is a testament to Genberg's legacy, embodying the serenity and beauty of Swedish winter landscapes. It comes with a finely crafted new black frame, which further enhances the piece's elegance. It is a significant addition to any collection, not only as a work of art but also as a slice of the rich cultural tapestry of Sweden, preserved through Genberg's exceptional talent.

Anton Genberg's works are held in the collections of several prominent museums: Nationalmuseum Stockholm, Helsingborgs Museum, Gävle Museum, Jamtli Östersund, Nordiska Museet

Attributed to Petrus Gerardus Vertin (1819-1893)

Busy Street in a Sunlit Dutch Town

oil on wood panel 
unframed 27 x 23 cm 
framed 39.5 x 35 cm 

Provenance: 
A Swedish private collection.

Essay: 
This painting, attributed to the Dutch artist Petrus Gerardus Vertin (1819-1893), is a quintessential example of his work, though it is unsigned. The scene is a bustling street in a Dutch town, depicted in broad daylight with people engaged in their daily tasks. On the right, there is a stall where food is being prepared in a steaming pot, and across the street, a woman sells vegetables. The street is lined with brick houses on both sides, laundry is hanging out to dry, and some windows display flowers in full bloom, adding vibrant splashes of color to the scene. The atmosphere is light and airy, with a blue sky scattered with clouds, and a church is visible in the background, suggesting the setting could be a product of Vertin's imagination.

Petrus Gerardus Vertin was a prominent 19th-century Dutch painter and graphic artist known for his detailed townscapes and street views. His works can be found in several Dutch museums, including the Rijksmuseum in Amsterdam, the Gemeentemuseum in The Hague, and the Centraal Museum in Utrecht. Vertin was a student of the renowned veduta painter Bartholomeus Johannes van Hove and opted for lithography and etching in his graphic works. His paintings often feature aligned house facades along streets or canals, a significant building such as a church in the background, and an atmospheric sky with moving clouds. These elements are all present in this work, along with the small figures that add a narrative character to the painting. Vertin's art captures various times of the year and different weather conditions, bringing the daily life of Dutch towns in the 19th century to the viewer with a vivid sense of realism and charm.

Rikard Lindström (1882-1943) Swedish

Winter Landscape

oil on canvas
signed Rikard Lindström
unframed 71 x 100 cm
framed 78 x 108 cm

Provenance: 
A Swedish private collection

Essay: 

Depicting a winter wonderland, this piece mesmerizes the viewer with its turquoise sky - a bold and unique choice that draws the eyes upwards. But the narrative is more profound. Set against this sky is a distant, rugged stone hill, standing as a testament to the timeless beauty of nature. A few trees benethe the hill, gracefully blanketed with snow. The snow itself is no ordinary white, but a mix of pink and blue shimmers, giving the piece a more interesting quality.

More intriguing are the tracks left in the snow. Whose might they be? An animal, perhaps? Or did the artist himself tread this frozen landscape, leaving behind a subtle signature? Such is the mystery of Lindström's work.

Rikard Magnus Lindström (1882-1943) was not just a painter but a storyteller, deeply rooted in his Swedish heritage. He's best known for his paintings of archipelago scenes, where the tranquil and tempestuous moods of the sea often play central characters. Born in Stockholm, Lindström's journey into the art world began at the Konstakademien in Stockholm, and his passion took him to Copenhagen and Paris. Throughout his life, Lindström's restless spirit saw him wander, capturing the diverse landscapes of Stockholm's archipelago, Västkusten, Åland, and notably, Lofoten. His affinity for portraying the vast expanse of the sea, often with sailing vessels in the backdrop, is legendary.

Lindström's colors were described as "powerful yet harmonious," and this piece is no exception. The juxtaposition of the turquoise sky with the shimmering snow showcases his masterful play with colors.

A member of the younger generation of the Konstnärsförbundet, Lindström was greatly influenced by the older members, particularly by Karl Nordström's national-romantic paintings. Besides painting, Lindström had a flair for writing and was a popular contributor to Dagens Nyheter, often penning articles and notes in Morgonbris.

However, beneath the vivacious, nature-loving exterior was a man of depth and complexity, as his ex-wife, Martha Rydell-Lindström, has depicted in her book. He was a lover of life, but his nature held layers of vulnerability and tenderness.

Today, this winter landscape stands as a tribute not just to Lindström's artistic genius but to the very essence of the man himself. Embrace the opportunity to own a piece of Swedish art history, painted by an artist whose legacy continues to inspire.

Rikard Lindströms paintings can be seen in many museums across the Nordic region, such as: 

Modern Museum (Moderna Museet)
Gothenburg Art Museum (Göteborgs Konstmuseum
Thiel Gallery (Thielska Galleriet)
Stockholm City Museum (Stockholms Stadsmuseum)
Norrköping Art Museum (Norrköpings Konstmuseum)
Helsingborg Museum (Helsingborgs Museum)
Maritime Museum (Sjöhistoriska Museet)
Västergötland Museum (Västergötlands Museum)
North Norwegian Art Museum (Nordnorsk Kunstmuseum)
National Gallery of Denmark (Statens Museum for Kunst) in Copenhagen
Prince Eugen's Waldemarsudde (Prins Eugens Waldemarsudde)
Zorn Museum (Zornmuseet)
Mariehamn Town Hall (Mariehamns stadshus)
Museums in Helsinki (Museum i Helsingfors)

Rikard Lindström (1882-1943) Sweden

Canal Scene, Early 1900s

oil on paper laid on masonite
signed R Lindström
unframed 33.5 x 26.5 cm
framed 42.5 x 35.5 cm
authenticated by Gustaf Jaensson on the back.

Essay:
For sale is a captivating painting by the Swedish artist, Rikard Lindström (1882-1943). Depicting a picturesque water canal, with charming houses lining its left side, this artwork radiates warmth and spontaneity. Two boats float gently on the water, while a crane stands tall in the distance. The painting exudes a palpable immediacy, with the varied brushwork – from thin, almost ephemeral strokes in the sky to the thicker, more pronounced ones – suggesting that it was painted on-site. In fact, small holes at the corners of the paper hint that Lindström might have painted it directly on point, most likely in Paris during the early 1900s.

About Rikard Lindström: A Journey Through Art and Travel

Born in Stockholm, Rikard Lindström established himself as a master of maritime and archipelago motifs. He began his artistic journey at the Royal Academy of Fine Arts in Stockholm in 1901, later expanding his horizons with studies under Kristian Zahrtmann in Copenhagen from 1902 to 1905 and many travels to Paris. The spirit of a wanderer, Lindström's travels across locations like Stockholm's archipelago, the West Coast, Åland, and particularly Lofoten, Norway, profoundly influenced his art.

Lindström's works often portrayed the sea in all its moods and vessels from behind, revealing a keen interest in life by the water. The bold yet harmonious colors in his pieces speak volumes of his deep appreciation for the maritime world.

Being part of the younger faction of the Artists' Association, Lindström was inspired by the older members like Karl Nordström and his national-romantic paintings. Lindström's work has been exhibited extensively, from Stockholm to Berlin, Venice, and the USA.

Furthermore, Rikard Lindström wasn't just an artist but also a writer, contributing articles and musings to newspapers like Dagens Nyheter.

Lindström's legacy in art is preserved in numerous museums. His works can be found in esteemed institutions like the Moderna Museet, Göteborgs Konstmuseum, Thielska Galleriet, and many more across Sweden and beyond, including the Statens Museum for Kunst in Copenhagen and museums in Helsinki.

Circle of Adriaen van Stalbemt (1580-1662)

A 17th Century Mythological Scene

oil on copper plate
unframed 16.3 x 21.4 cm (6.42 x 8.43 inches)
framed 26 x 31 cm (10.24 x 12.20 inches)

Provenance:
An important private collection, Sweden. 

Condition:
Professionally restored in Italy 1995. 

Expertise: 
Dr. Mari Pietrogiovanna (Report included)

 

Essay:
This small yet captivating painting, crafted on a copper plate, dates back to the mid-1600s and was created by a Flemish artist. 

Subject Matter: The central figure in the artwork is Mercury, easily identified by his symbolic attributes like winged sandals, petasus, and caduceus. Beside him is a likely female figure, characterized by her attire and absence of weaponry.

The depicted scene could represent two mythological tales:

1. Mercury and Calypso: This interpretation suggests the artwork shows the moment Zeus sends Mercury to Calypso's island, Ogygia. Mercury is there to order Calypso to release Ulysses, whom she saved from a shipwreck but kept captive. The lush, wooded background and the three distant figures could hint at Ulysses' farewell to Calypso.

2. Mercury and Herses: Another interpretation could be a scene from the love story of Mercury and Herses. The background figures might symbolize the sisters returning from a procession, while the forefront could be the initial meeting between Mercury and the most beautiful sister, Erse.

Artistic Inspiration: The painting's landscape and setting are heavily influenced by the early 17th century Northern European art trends, especially the works of Jan Brueghel the Elder. However, the artwork stands apart with its unique luminescence in detailing and a distinctive approach to depicting figures.

While the exact origin and artist remain somewhat mysterious, the style and treatment of light hint towards works close to Josse de Momper. There's a suggestion that it might have been influenced or created by artists like Adriaen van Stalbemt, known for his biblical subjects and detailed landscapes, around the first thirty years of the 1600s.
In conclusion, while we haven't been able to figure out the artist, it's essential to remember that the allure of a painting isn't solely tied to its creator's identity. Sometimes, the beauty and intrigue of the piece stand on their own, and a touch of mystery can only enhance its charm.

Charlotte Wahlström (1849-1924) Sweden

Haystack, c. 1895

oil on a Swedish wood panel
signed Charlotte Wahlström
unframed 22.7 x 14.7 cm (8.93 x 5.78 inches)
framed 30 x 22 cm (11.81 x 8.66 inches)

Provenance:
A Swedish private collection

Essay:
We are proud to showcase a captivating painting by Charlotte Wahlström, a petite yet enthralling painting measuring just 22.7 x 14.7 cm. The subject depicts a haystack situated on a meadow, close to a log cabin. Illuminated by warm sunlight, the haystack is brought to life with broad, thick brushstrokes, under a clear blue sky. The technique used is distinctly impressionistic, reminiscent of the style that was prominent during that period.

Created around 1895, this piece emerges a few years after Claude Monet's renowned series of haystacks which, like ours, often portrayed the exquisite lighting highlighting the stacks. It's intriguing to speculate if Monet's work influenced Wahlström's interpretation, given the similarities in the light portrayal.

(Claude Monet, Wheatstacks (detail), 1890–91. Collection Art Institute of Chicago, W1269)

Born as the daughter of builder Anders Wahlström and Carolina Setterberg, Charlotte was the niece of the city architect of Vasa, Carl Axel Setterberg. Wahlström embarked on her artistic journey at the Royal Academy of Fine Arts in Stockholm from 1878 to 1883, where she was honored with a royal medal in landscape painting in 1883. Post her time in Stockholm, she traveled to Paris and Brittany in 1885, subsequently venturing to Germany, the Netherlands, and Belgium on scholarship funds. By 1889, she had spent time in the artist colony of Barbizon.

Her accomplishments are numerous. She was awarded a bronze medal at the World's Fair in Saint Louis, USA, in 1904 and received the Idun magazine prize in 1911. She participated in exhibitions held by the Royal Academy of Fine Arts, as well as numerous collective exhibitions organized by the General Art Association of Sweden, Swedish Artists' Association, and the Association of Swedish Female Artists. She was represented in the Baltic Exhibition and several exhibitions in Copenhagen and Munich. Her paintings, often characterized by outstanding coloristic landscapes, frequently featured scenes from Skåne, Värmland, Dalarna, and the West Coast.

Today, Wahlström's legacy can be witnessed in various esteemed institutions including the Göteborg Art Museum, National Museum in Stockholm, Östergötland Museum, Malmö Museum, the County Museum in Östersund, and Örebro County Museum.

Comparable sale:


A larger painting (81x49 cm) with a similar motif was sold at Stockholms Auktionsverk in 2019, fetching a total price of 6000 €.

Frants Henningsen (1850-1908) Denmark 

A Summer's Day on Hornbæk Beach, 1886

pastel on canvas
canvas dimensions 41 x 33 cm (16.14 x 12.99 inches)
frame 56 x 49 cm (22.05 x 19.29 inches)
hand made oak frame by Stockholms Bildhuggeri

Provenance: 
A Swedish private collection

Comparable sales:
Christie's London 
British and European Art, 15 jul 2021
Lot 130, Frants Henningsen - A Summer's Day on Hornbæk Beach 1884 
Price realised 43,750 GBP (605,000 SEK)

Essay:

We are pleased to present a striking pastel by the Danish artist, Frants Henningsen (1850-1908), titled "A Summer's Day on Hornbæk Beach" dated 1886. The scene is from Hornbæk Beach in Denmark, featuring a beach with some pooled water, a few green grass plants, followed by the sea with sailboats, and land visible on the horizon. The water reflection in the puddle on the beach and in the sea is exceptionally beautiful, reflecting the sky, which has a few clouds. This is a motif that the artist revisited several times during the 1880s, including a larger oil painting executed in 1884, sold at Christie's in 2021, and another one from 1883 in the museum collection: The Hirschsprung Collection, Copenhagen. Our pastel is undoubtedly the brightest of those we could find; it is strikingly beautiful and in exceptionally good condition. The artwork comes in a beautiful handmade oak gold frame by Stockholms Bildhuggeri.

 

About Frants Henningsen:

Frants Peter Diderik Henningsen was a Danish painter, illustrator, and professor. His paintings often depict unfortunate occurrences in the lives of middle-class people living in Copenhagen during challenging times. Although connected with Denmark's more traditional realist school, he faced criticism from some of his more reactionary contemporaries, especially Karl Madsen, who objected to his appointment as a professor at the Academy in 1887. Erik Henningsen, also an artist, was his younger brother.

Henningsen graduated from Borgerdyd School in Christianshavn, attended C.V. Nielsen's drawing school, and then completed his studies at the Danish Academy in 1875. He studied at Léon Bonnat's school in Paris from 1877 to 1878 and traveled to Spain with Peder Severin Krøyer, Frans Schwartz, and Julius Lange in 1878.

Henningsen's first exhibited painting was a portrait of actress Julie Sødring in 1874, after which he virtually exhibited every year at the Charlottenborg Spring Exhibition held at Charlottenborg Palace. Despite his studies under Bonnat, he remained a rather traditional, diligent, and careful artist, portraying everything from portraits, genre works, and landscapes to animal paintings and illustrations. His interest in compassion rather than beautification can be seen in his masterpiece, "Forladt. Dog ej af Venner i Nøden" (Deserted. But Not by Friends in Need).

Forladt. Dog ej af Venner i Nøden, 1888

Skagen Painters:

The Skagen Painters were a group of Scandinavian artists who gathered in the village of Skagen, the northernmost part of Denmark, from the late 1870s until the turn of the century. Frants Henningsen was a contemporary of some of the artists in this group, including Peder Severin Krøyer, whom he traveled with to Spain. The Skagen Painters were known for their depictions of the natural surroundings and everyday life in Skagen, characterized by their bright light and loose painting techniques, which were influenced by Impressionism.

 

 See how pastel crayons are made by hand: 

 

Josefina Holmlund (1827-1905) Sweden

Coastal Landscape, Arild

oil on wood panel
signed J Holmlund 
indistinctly dated 9(6?)
panel dimensions: 18 cm x 27 cm (7.09 x 10.63 inches)
frame dimensions: 29 cm x 38 cm (11.42 x 14.96 inches)

Provenance: 
A Swedish private collection

Essay:
'Coastal Landscape, Arild' is painted by Swedish artist, Josefina Holmlund (1827-1905). Created circa 1896, this beautiful artwork captures a view from Arild, a picturesque village located on the coast of Skåne, Sweden. The scene unfolds from a vantage point above the village, overlooking rooftops, sailboat masts, and lush vegetation in the foreground, with the dark blue sea, characterized by waves crashing against the rocky shore, stretching out towards the horizon. In the distance, the villages of Torekov, Vejby, and Skälderviken can be discerned along the coastline.

Josefina Holmlund was a prominent Swedish painter known for her landscape and genre paintings. Born in 1827, Holmlund's artistic journey was marked by a dedication to capturing the natural beauty and everyday life of her homeland. Her work often features coastal scenes, rural landscapes, and village life, all rendered with meticulous attention to detail and a keen sense of observation.

Arild, the location depicted in this painting, is a historic fishing village situated on the Kullen Peninsula in Skåne, Sweden. Renowned for its natural beauty, Arild has long been a popular destination for artists and nature lovers alike. The village's picturesque setting, with its traditional cottages, rocky coastline, and surrounding countryside, has inspired countless artworks over the years.

In 'Coastal Landscape, Arild,' Holmlund masterfully captures the essence of this idyllic location. The detailed rendering of the village buildings, the vegetation surrounding them, and the boats moored in the harbor, combined with the dramatic depiction of the sea and distant coastline, creates a composition that is both dynamic and harmonious. The artist's use of color, particularly the deep blues of the sea and the varied greens of the vegetation, adds depth and vitality to the scene.

This painting represents a unique opportunity to acquire a work by a highly regarded Swedish artist, and a beautiful depiction of a beloved coastal location. 'Coastal Landscape, Arild' is not only a testament to Josefina Holmlund's skill as a painter but also a tribute to the natural beauty and charm of the Skåne region