416 items
416 items
Ferdinand Fagerlin - The Old Stone Stairway
Prix régulier €1.900
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Ferdinand Fagerlin (1825-1907) Sweden
The Old Stone Stairway
oil on board
signed Ferd Fagerlin
unframed 24 x 18 cm
Provenance:
A Swedish private collection.
Essay:
This oil painting called The Old Stone Stairway by Ferdinand Fagerlin offers an intimate glimpse into a quiet interior space, where the stillness of the scene is punctuated by the soft daylight filtering through a window. Measuring a modest 24 x 18 cm, the painting captures the subtle play of light on the staircase and walls, evoking a serene atmosphere.
Ferdinand Fagerlin was born in 1825 in Stockholm and passed away in 1907 in Düsseldorf. He was a notable Swedish artist. His genre paintings often depicted Dutch fishermen, but he was also renowned for his dramatic portrayals of people and interiors. Typically associated with the Düsseldorf school of painting, Fagerlin's journey in art began as a shipbuilder's apprentice before he transitioned to studying at the Royal Swedish Academy of Arts. His military service was followed by further artistic development in Düsseldorf and Paris under the mentorship of Thomas Couture. Fagerlin settled in Düsseldorf, where he cultivated his craft and reputation. His legacy is enshrined in several prestigious institutions, including Nationalmuseum in Stockholm, Kalmar Art Museum, Norrköping's Art Museum, and Gothenburg's Art Museum. This piece reflects Fagerlin's keen eye for detail and his ability to convey emotion through the depiction of everyday scenes.
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Ferdinand Hernlund - Sunset Over a Meadow
Prix régulier €3.900
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Ferdinand Hernlund (1837-1902) Sweden
Sunset Over a Meadow
oil on canvas
signed Ferd. Hernlund
unframed 37x48 cm
framed 54x67 cm.
Essay:
We are delighted to present an exquisite painting by the Swedish artist Ferdinand Hernlund, depicting a serene sunset over a lush, flower-dotted meadow. This captivating work is a quintessential example of Hernlund’s mastery in capturing the poetic beauty of nature.
Description of the Painting
The artwork beautifully portrays a tranquil summer evening. The sun is setting behind a line of trees, casting a warm, golden glow across the meadow. The sky is awash with hues of orange, pink, and soft purple, typical of a glorious sunset. The meadow in the foreground is rich with verdant grass, scattered with delicate wildflowers, adding a touch of vibrant life to the scene. A small stream winds its way through the grass, reflecting the colors of the sky, leading the viewer's eye deeper into the painting.
The Artist
Born on August 17, 1837, in Eksjö, Sweden, Ferdinand Hernlund was a distinguished painter and illustrator known for his lyrical and warm depictions of Swedish landscapes, particularly from regions like Kalmar, Kolmården, and the Östgötaslätten.
From an early age, Hernlund showed artistic talent, creating cityscapes of Eksjö as early as 1850. His formal art education included studies in Stockholm under the guidance of Per Daniel Holm and further refinement of his skills in European art centers like Düsseldorf, Karlsruhe, and Munich.
Hernlund's primary residence was in Stockholm, though he often traveled to capture the diverse and picturesque Swedish countryside. His works were regularly exhibited at the Royal Swedish Academy of Fine Arts, where he was elected a member in 1887. Beyond his painting career, he contributed as an illustrator for notable works such as "Svenska folksägner" by Herman Hofberg and "Vårt land" by Gustaf Fahlcrantz.
Hernlund’s art is well-represented in several prestigious collections, including the Nationalmuseum, Kalmar Museum, and the Linköping Art Museum.
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Flemish School - The Card Players, 1600s
Prix régulier €1.850
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Flemish 1600s School
The Card Players
oil on oak panel
panel dimensions 22.5 x 20 cm
frame included
Provenance:
From a Swedish private collection.
Condition:
Flat and stable panel, discolored old varnish. Some small retouching.
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Flemish School, 1600s - Nicholas of Tolentino
Prix régulier €3.900
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Flemish School, 1600s
Saint Nicholas of Tolentino
oil on copper
plate dimensions 24.5 x 18.5 cm
frame 30.5 x 24.5 cm
Provenance:
A Swedish private collection.
Essay:
This small Flemish painting, measuring only 24.5 x 18.5 cm and executed on a copper plate, depicts Saint Nicholas of Tolentino. Created in the 17th century, the artist remains unknown. The composition presents Saint Nicholas in full figure within a divided landscape, providing depth to the scene. The color palette consists of blues, yellows, and greens, with glimpses of ancient buildings in the background.
Saint Nicholas of Tolentino is portrayed wearing a black priest's cape adorned with embroidered gold stars. In his left hand, he holds a plate with a bird on its rim, while his right hand rests on his chest. His cheerful smile suggests his contentment in the depicted environment.
The symbolism of Saint Nicholas of Tolentino lies in his association with a variety of virtues and attributes. As the patron saint of animals, he is often depicted with birds or other creatures. The presence of the bird on the plate signifies his gentle nature and connection to the natural world. Additionally, Saint Nicholas is known for his piety and acts of charity, symbolized by his priestly attire.
The landscape division in the painting serves to emphasize the spiritual significance of Saint Nicholas' presence. The background featuring ancient buildings hints at the continuity of faith and the lasting impact of the saint's teachings.
This Flemish artwork invites contemplation of Saint Nicholas of Tolentino's legacy and the values he embodied. The skillful execution on a copper plate showcases the technical prowess of the unknown artist, who has successfully captured the saint's joy and harmonious connection with the surrounding environment.
Despite the artist's anonymity, this captivating painting stands as a testament to the enduring appeal of Flemish art and the ability to convey profound spiritual themes through the masterful use of color, composition, and symbolism.
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Flemish School, 17th Century - Mary Magdalene
Prix régulier €2.800
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Flemish School, 17th Century
Mary Magdalene
oil on copper
17th century
plate dimensions 23 x 17 cm
frame 27 x 22 cm
Restored by professional art conservator 2022.
Provenance:
From a Swedish private collection
Mary Magdalene
oil on copper
17th century
plate dimensions 23 x 17 cm
frame 27 x 22 cm
Restored by professional art conservator 2022.
Provenance:
From a Swedish private collection
We believe in simplicity; Therefore, all orders ship to your door without any additional costs for transport. We use professional shipping companies and pack all orders carefully with special art shipping boxes. All prices on our website include international shipping and transport insurance.
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Follower of Godfried Schalcken - Old Woman and Boy with Candles
Prix régulier €2.500
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Unknown Artist, Follower of Godfried Schalcken
Old Woman and Boy with Candles
oil on wood panel
painted in the 1800s
panel 28.5 x 23.5 cm
frame 40 x 33.5 cm
Condition:
Good condition, newly restored by our professional art conservator in Stockholm. Please contact us for a more in-depth CR.
Essay:
In this painting titled "Old Woman and Boy with Candles" an intriguing scene unfolds before our eyes. An older woman gazes ahead, her eyes shielded from the flickering candlelight, while a young boy stands behind her, holding his own candle, ready to ignite its flame. This artwork's play of light and darkness harks back to the technique employed by the renowned artist Rubens (Mauritshuis, inv.no. 1150), who drew inspiration from Caravaggio's mastery of capturing light and shadow. Notably, this motif has been replicated by other artists such as Godfried Schalcken and Johann Georg Trautmann. Although the artist of our painting remains unknown, it bears a striking resemblance to Godfried Schalcken's interpretation of Rubens' original composition (National Museum in Warsaw, MNW). Several well-known copies of Schalcken's version of the painting exist, each capturing the essence of the scene in their unique way.
The painting "Old Woman and Boy with Candles" exudes a sense of quiet anticipation and serenity. The central figures, the older woman and the young boy create a powerful contrast between youth and age, while their candles symbolize the transient nature of life and the hope they bring. The woman's contemplative expression hints at a hidden story, inviting viewers to imagine the thoughts and emotions that lie within her mind. The careful positioning of the candles and the interplay of light and shadow add depth and atmosphere to the composition, immersing the viewer in the scene.
The artist's skilful use of chiaroscuro, a technique that emphasizes the stark contrast between light and dark, enhances the dramatic effect of the painting. The soft glow of the candlelight illuminates the woman's weathered features, casting a gentle radiance upon her face. The warm and cool tones further enrich the visual experience, evoking a sense of harmony and balance.
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Follower of Joos de Momper II - An Extensive River Landscape with Figures
Prix régulier €4.500
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Joos de Momper II (Follower of)
An Extensive River Landscape with Figures
oil on copper
unframed: 18.3 x 26.3 cm (7 1/4 x 10 3/8 in)
framed: 35.5 x 43.5 cm (14 x 17 1/8 in)
Essay:
This captivating painting, rendered on copper, portrays an idyllic riverside scene. A harmonious blend of architectural elements, natural beauty, and human activity animates the composition. The village in the foreground is marked by a warm, rosy palette, with its lively buildings and cobblestone paths echoing the vibrancy of human life. Figures are scattered throughout, engaged in daily activities, lending the piece a narrative quality. The serene river to the right features a sailboat gracefully navigating the waters, while dramatic cliffs rise in the background, framing the scene with an air of mystery.
Attributed to a follower of Joos de Momper II, this work reflects the enduring influence of one of the Flemish Golden Age's foremost landscape painters. Active in Antwerp during the late 16th and early 17th centuries, de Momper was celebrated for his panoramic vistas and his distinctive use of color gradation, transitioning from earthy browns to lush greens and ethereal blues. His works bridged the transition from Mannerist stylization to the more realistic landscapes that defined the 17th century.
Although this painting likely dates to the 18th century, it carries the hallmarks of de Momper's style, showcasing the meticulous detailing and atmospheric perspective for which Flemish landscape painting is renowned. The choice of copper as a medium not only enhances the vibrancy of the pigments but also underscores the work's craftsmanship and durability.
Joos de Momper's artistic lineage is steeped in collaboration and innovation. His vast output, often created in partnership with figure painters like Jan Brueghel the Elder, established him as a pivotal figure in the evolution of landscape art. The enduring appeal of his style is evident in works like this, where a follower has faithfully embraced his spirit, offering a timeless glimpse into an imagined, yet deeply evocative world.
Condition Report:
The painting is in excellent condition. It has undergone restoration at some point in the not-too-distant past. The colors are strong and clear. The fine frame, which complements the artwork beautifully, is included.
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Francesco Guardi - Shipping in Stormy Waters
Prix régulier €55.000
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Francesco Guardi (Venice 1712-1793) Attributed to
Shipping in Stormy Waters
oil on canvas
canvas dimensions 20 x 23 ½ in. (50.8 x 59.7 cm.)
frame 25.7 x 29 inches (65.5 x 74 cm.)
Provenance:
Christie's London, 2 November 2016, lot 180 (as Attributed to Francesco Guardi), sold for GBP 102.500;
Private collection France;
Sotheby’s Paris, 17 June 2021, lot 165 (as Attributed to Francesco Guardi)
Essay:
No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention.
Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person.
Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters.
Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice.
During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto.
The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture.
This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean.
It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world.
In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg. It bears, however, all the typical traits of Guardi and knowing his impressive versatility further strengthens the attribution to him, as do no less than ten other known versions of the same scene and a study drawing. Both the versions in Musée des Beaux-Arts in Montreal and the Gnecchi collection in Milan are particularly similar in their dramatic impact, treatment of the waves and positionings of the ships, together forming an interesting example of how one artist could rework and explore a composition.
Even though seascapes never became the speciality of Guardi, the existence of this painting is an intriguing testament to his virtuosity, and artistic advantages of using the sea as a metaphor for the fragility of life and man’s vulnerability against the elements. Furthermore, it gives greater depths to the understanding of the entire school of Venetian painting which, for all its iconic architectural splendour, was much more versatile than was is commonly assumed. The fact that artworks like these also remind us about a forgotten relationship to the sea further enhances the valuable lesson that a painting can be an eye-opener to history, once we give it the attention it deserves.
Literature:
A. Bonfand, Francesco Guardi, una burrasca, étude inédite, 2017, cat. 15 as by Francesco Guardi, fig. 1.
J. Byam Shaw, The Drawings of Francesco Guardi, London, 1951, p. 78, no. 73, illustrated.
A preparatory sketch for this composition is recorded by Byam Shaw. In several respects this drawing is closer to this painting than to the two versions of this composition by Guardi in the Museum of Fine Arts, Montreal and the Bortolotto collection. The design of the stern of the ship far right is different than in the Montreal picture, the crows nests are depicted at sharper angles and the cliffs along the right edge are more prominently displayed in the drawing and this lot. In the drawing the man standing on the rock has his arms outstretched and is trying to catch the rigging: in this picture he has already caught this.
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Frans van Severdonck - Rooster and Hens at Daybreak
Prix régulier €2.700
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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.
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Frans van Severdonck - Sheep Resting in a Meadow
Prix régulier €3.650
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Francois (Frans, Franz)) Van Severdonck (1809-1889)
Belgian Sheep Resting in a Meadow
signed Franc..? Van Severdonck and dated 1861
oil on panel
panel size 16 x 23 cm
frame 25.5 x 32 cm
Restored by professional art conservator in 2021, frame from 2021.
Provenance: Comes from a Swedish private collection
See Inventory for more paintings by this artist.
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