INVENTORY

Jacob Ochtervelt (Workshop)

The Grape Seller

oil on canvas
unframed: 80.7 x 61 cm.; 31 ¾ x 24 in.
framed: 109.5 x 89 cm.; 43 1/8 x 35 in.

Essay:
This captivating piece, originating from the studio of the revered Dutch artist Jacob Ochtervelt, mirrors the composition of a signed and dated 1669 canvas by Ochtervelt that is presently housed in the Hermitage museum. Its subject, "The Grape Seller" immerses us in a typical 17th-century interior, replete with characters from various strata of society.

At the center, a fruit vendor is depicted bending over to weigh grapes for the buyer. A child hands some of the grapes to her mother to taste, their attentive maid standing by. The backdrop showcases typical Ochtervelt details: a hint of the city visible through the doorway, light filtering in through an overhead window, and a playful dog at their side.

The exquisite quality of the piece is evident in the minutiae, such as the intricate detailing of the mother's earring, which in reality spans only a few millimeters yet boasts impressive attention to detail. Initially, Sotheby's considered this work to be an autograph piece by Ochtervelt. But due to some uncertainty, it was auctioned as Workshop of Jacob Ochtervelt. On the other hand, the esteemed Cabinet Turquin in Paris leans toward attributing the piece directly to Jacob Ochtervelt himself.

The painting is framed in an authentic period frame, which has been delicately restored by Stockholm's Förgyllning och Bildhuggeri. The frame retains its age-old patina and, while in used condition, has minor imperfections adding to its charm.

Another interesting thing worth to mention is the painting's provenance. It was once owned by the 1st Viscount Rothermere (1868-1940), the founder of the Daily Mail and Daily Mirror. As one of the wealthiest individuals in Britain during his lifetime, Viscount Rothermere amassed a remarkable art collection. This painting was included in the book "Works of Art in the Collection of Viscount Rothermere"  where its illustrated in black and white and expertise by Wilhelm Bode. 

Provenance:
Harold Harmsworth, 1st Viscount Rothermere (1868-1940) (Daily Mail founder), London, 1932;
His posthumous sale, London, Christie's, 19 December 1941, lot 89 (as Ochtervelt);
With Dr. F. Drey, London, before 1946;
Gösta Stenman, Stockholm, 1947 (as Ochtervelt);
Thence by descent until sold, Stockholm, Stockholms Auktionsverk, 10 December 2019, lot 2476 (as
Attributed to Ochtervelt by Cabinet Turquin);
Sotheby's London, Sale L20037, Old Master Day Sale, lot 155, (as Workshop of Jacob Ochtervelt)

Literature:
P.G. Konody, Works of Art in the Collection of the Viscount Rothermere, London 1932, cat. no. 53,
reproduced pl. 53 (as Ochtervelt) (see attached image with text by Wilhelm Bode);
G. Stenman, Gamla Tiders Mästare, Stockholm 1947, p. 22, cat. no. 48, reproduced pl. 26 (as Ochtervelt);
S.D. Kuretsky, The Paintings of Jacob Ochtervelt (1634-1682), Oxford 1979, p. 76, cat. no. 54-A, reproduced fig. 131.

Condition: 
Recently carefully cleaned by our art conservator in Stockholm. Only surface cleaning, the old varnish is still there. 

Circle of Adriaen van Stalbemt (1580-1662)

A 17th Century Mythological Scene

oil on copper plate
unframed 
framed

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.

Ingeborg Westfelt-Eggertz (1855-1936) Sweden

Lost in Thoughts, before 1890

oil on canvas laid in masonite
painted c. 1883-1889
signed I Westfelt, St.Nazair (Bretagne)
unframed 23 x 21 cm
framed 39 x 36 cm

Condition:
Very good condition with bright and clear colors. 

Essay:
We are delighted to offer a unique and evocative piece by the Swedish artist Ingeborg Westfelt-Eggertz. This small oil sketch captures a moment in time, portraying a young man seated amidst the grass. Dressed in a vest and hat, the young boy appears to be in his late teens or early twenties. His gaze is directed away, captured in contemplation or perhaps lost in distant thoughts. Painted with swift strokes, the artwork embodies spontaneity, presenting an unfinished portrait of the young man surrounded by rapidly rendered greenery.

There's a distinct charm to unfinished artworks and oil sketches like this one. Such paintings offer a rare insight into the artist's creative process, almost serving as a window into their thoughts and initial intentions. At many times a sketch can be more interesting than a finished painting, as it reveals the raw, unfiltered essence of the artist's vision.

The sketch is signed and the place of its creation is inscribed on the front: Saint Nazaire, Bretagne, painted around 1883-1889.

Born in Stockholm on 17th May 1855, Ingeborg Aurora Westfelt-Eggertz was a pivotal figure in the Swedish art world. Daughter to chamberlain Carl Peter Westfelt and Aurora Charlotta Löthman, she later married the editor August Emil Eggertz in 1893. Her artistic journey began at the Technical School and then led her to the Royal Academy of Fine Arts in Stockholm from 1873 to 1880. Further honing her craft, she studied under Collin and Courtois in Paris by 1883. While in Paris, she opened a school for young women from high society in 1887 and contributed drawings to the Delagrave publishing firm.

Returning to Stockholm in 1890, she co-established a painting school for female students with Elisabeth Keyser. Throughout her life, she shifted residences, living in places such as Visby, Landskrona, and finally settling in Gothenburg by 1903. No matter where she resided, Westfelt-Eggertz remained committed to educating and establishing painting schools for women alongside her personal creations. Her oeuvre consists mainly of genre scenes, figure depictions, and portraits, often in pastel. Several works from her Parisian period found homes with North and South American collectors.

Her accomplishments include awards such as a gold medal in oil painting in Arcachon in 1888, a silver medal in Versailles in 1889, and a Mention Honorable in Evreux. Her legacy is immortalized in esteemed institutions like the Göteborg Art Museum, Hallands Art Museum, Bohuslän Museum in Uddevalla, and the National Museum in Stockholm.

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 €.

Gabriel Strandberg (1885-1966) Sweden

Landscape from the West of Norrland, 1911


oil on canvas
signed and dated Gabriel Strandberg 1911
unframed 47 x 75.5 cm
framed 63 x 91.5 cm

Provenance: 
A Swedish private collection. 

Condition: 
Very good condition. Recently restored by our art conservator in Stockholm. Please contact us for more information. 

Essay:
We are delighted to present this landscape painting by the Swedish artist, Gabriel Strandberg (1885-1966). While the exact location is still unknown, the beauty and characteristics of the scene suggest the northern terrains of Sweden, possibly the areas around Örnsköldsvik or Härnösand.

Your gaze is immediately captured by a breathtaking foreground of rugged cliffs interspersed with stately pines. The centerpiece of this composition is the blue water, reflecting the forest behind and the serene clouds above. In the distance we can see a small village with a church, and to the right, a long building in shades of pink and orange, Its origins and purpose remain a mystery, though speculations lean towards a former military regiment.

The tableau is marked by profound tranquility and distinguished by vivid hues that breathe life into every detail. The artwork's creation in 1911 is significant, coinciding with the year Strandberg exhibited at the International Art Show in Rome, sharing the spotlight with giants like Anders Zorn, Stefan Johansson, Helmer Osslund, Bror Lind, and John Bauer. While it remains unclear if this particular painting graced the Roman exhibition, a contemporary review from the 'Idun' newspaper hints at its potential lineage: “Gabriel Strandberg and Helmer Osslund enlivened the color tone, but Bror Lind and Otto Hesselbom were considered masters of lines and mood tones.” The influence of Hesselbom and Lind, with their pronounced line work, is evident in the distinct outlines accentuating the trees, water, and vegetation in our painting.

While Gabriel Strandberg's legacy as a painter and draftsman is deeply etched in historical records, he remains an under-appreciated master in today's art world.

Attributed to Carlo Grubacs (1810-1870) Italy 

Sunny Afternoon at Punta della Dogana

gouache on paper
unframed 3.3 x 4.8 inches (8.4 x 12.3 cm)
framed 9.4 x 10 inches (24 x 25,5 cm)

Essay:
We are delighted to present a petite yet striking gouache on paper by the renowned Italian artist, Carlo Grubacs (1810-1870). Measuring a mere 8.4 x 12.3 cm, this artwork, despite its size, captures the vibrant essence of Venice in a way that few can.

The scene, believed to be of Punta della Dogana, offers a breathtaking view towards the Basilica di San Giorgio Maggiore. Set on a sunlit afternoon, the painting's hues are rich and vivid, with a bright blue sky lightly adorned by serene clouds, hinting at the calm that this city often enjoys amidst its bustling canals.


Here is the same view today. 

One can't help but be drawn into the daily life of Venice as depicted in the painting. Approximately 12 boats dot the waterways, some stationary while others seem to glide effortlessly. These vessels, along with the roughly 20 figures attending to their daily tasks, provide a snapshot into the life and times of a city that never truly stands still.

Carlo Grubacs, the artist to whom this work is most likely attributed, was a master at capturing the ethereal beauty of Venice. Born in the early 19th century, Grubacs was particularly known for his detailed cityscapes and had an unparalleled ability to render the life and vibrancy of Venice onto his canvases. His use of color, precision, and perspective earned him a respected place in the annals of art history.

This particular gouache, with its meticulous details and vibrant colors, is a testament to Grubacs' unparalleled skill and his deep love for Venice. A piece like this is not just a painting; it's a window into another time, a glimpse of history, and a journey to the heart of a city beloved by many.

Provenance: 
An important private collection, Sweden. 

Anders Loman  (1879–1953) Sweden

Northern Landscape, 1913

oil on canvas
signed and dated And.Loman 1913
canvas dimensions
frame 67.5 x 120 cm
canvas dimensions 56.5 x 109 cm

Essay:
In the realm of early 20th-century Swedish art, Anders Loman may not have been the most widely recognized name, yet his talent is evident in this painting that echo both traditional Scandinavian motifs and avant-garde techniques.

"Northern Landscape" from 1913 is a prime example of this juxtaposition. At first glance, the canvas is dominated by imposing evergreens in the foreground. Their detail is painstakingly rendered, providing a stark contrast to the background. Beyond these trees lies a tranquil lake and distant mountains, but it is here that Loman's boldness in technique is most apparent. Inspired by the Pointillism movement, the background is rendered using short brush strokes, with the waters shimmering in shades of pink and lilac, and the mountains painted in soft blue and purple hues.

Yet, it's the sky that truly mesmerizes. A tapestry of pink, turquoise, and yellow, crafted with the same pointillistic technique, it bridges the traditional and the modern, drawing the viewer into Loman's interpretation of a Scandinavian landscape.

Loman studied at Valands målarskola in Göteborg from 1910 to 1913, it's likely that our painting was executed during this period of his academic journey. Beyond his academic endeavors at Valand, Loman's artistic vision was shaped by his travels — from the artistic epicenter of Paris in 1914, journeys through Germany, Austria, the rich cultural tapestry of Italy in 1921, to the Nordic nuances of Denmark. These experiences, combined with notable exhibitions like his solo shows in Falun in 1934, at Mässhallen in Stockholm in 1939, and participation in group exhibitions with Dalarnas konstförening at Liljevalchs konsthall in 1936, all contribute to the depth and diversity of his oeuvre.

"Northern Landscape" not only offers a journey through the pristine terrains of Scandinavia but also showcases the subtle brilliance of Anders Loman. His ability to weave traditional motifs with innovative techniques speaks of a talent that deserves recognition, no matter how underappreciated he might have been during his time.

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.

Oskar Bergman (1879-1963) Sweden

Pines in Evening Light,1939
(Tallar i aftonljus, 1939)

oil painting on wood panel
signed and dated Oskar Bergman 1939
panel dimensions 15 x 23.5 cm
frame 24 x 33 cm
black hand made frame from 2023 by Stockholm Bildhuggeri is included. 

Provenance:
A Swedish private collection.

Essay:
We are thrilled to present a captivating oil painting by the Swedish artist, Oskar Bergman (1879-1963). This piece portrays an archipelago scene with water in the foreground and an island in the distance. The evening light illuminates the trunks of the pines on the island in a bright red, gives the rocks almost a bluish hue, and reflects both the trees and rocks in the water. Painted on wood panel in 1939, this artwork is executed in an impressionistic style, quickly painted with a lot of color, using both short and long brush strokes. The sky is also painted with much spontaneity, with colors like white, blue, and purple visible across the entire sky.

This unusual small oil painting reflects Bergman's profound ability to capture the essence of nature with a unique color palette and brushwork. Oskar Bergman's work has been increasingly sought after by art collectors in recent years, and museums worldwide have acquired his exquisite pieces. His most recent exhibition was at the Thielska Galleriet in Stockholm.

About Oskar Bergman:

Oskar Bergman was a prominent Swedish painter known for his landscape and genre paintings. Born in 1879 in Stockholm, he was largely a self-taught artist, although he did receive some formal training at the Royal Swedish Academy of Fine Arts. Bergman’s work often reflects his fascination with the Swedish landscape, characterized by its detailed depiction of nature and atmospheric light. Throughout his lifetime, Bergman’s work was exhibited in various galleries and is now part of several museum collections.

Emma Ekwall (1838-1925) Sweden

Hide and Seek

oil on wood panel
signed E Ekwall
panel dimensions: 33 cm x 22.5 cm (12.99 x 8.86 inches)
frame dimensions: 48 cm x 38.5 cm (18.90 x 15.16 inches)

Provenance:
A Swedish private collection. 

Essay:
We are pleased to present a very charming painting by the Swedish artist Emma Ekwall (1838-1925), titled 'Hide and Seek'. As the title suggests, the painting depicts a young girl hiding behind a wall, her gaze fixed on the shadow of someone approaching. Her expression is one of amusement and playfulness. She is elegantly dressed, with a hat hanging on her back, her hair tied up with a pink and purple hairband, a red top, a blue dress, striped socks, and high leather boots. Next to the girl is a small bench, upon which sits a copper milk pail. The painting dates back to the late 19th century.

The game of hide and seek, or 'kurragömma' in Swedish, is a timeless children's game that has been played for generations. The painting captures the essence of childhood, a time of innocence, and play, and evokes nostalgia for a simpler time.

Emma Ekwall was a Swedish artist known for her detailed and delicate genre paintings and portraits. Born in Lund in 1838, she studied at the Royal Swedish Academy of Fine Arts in Stockholm and later in Paris. Her work was exhibited widely during her lifetime and is held in several museums and private collections.

'Hide and Seek' is a delightful example of Ekwall's skill in capturing the nuances of human expression and her attention to detail in depicting clothing and objects. The painting would make a charming addition to any art collection. 

Condition:
Restored by professional art conservator 2023. Very good condition. 

dimensions: 14 cm x 9 cm (5.51 x 3.54 inches)
frame: 22.5 cm x 17.5 cm (8.86 x 6.89 inches)

Provenance: 
The Aschberg family

Essay:
We are delighted to offer for sale a unique watercolor painting by the renowned Swedish artist, Isaac Grünewald (1889-1946). This special piece is painted on a postcard and depicts a farmer holding a pitchfork, ready for a day's work. The farmer is adorned in yellow shoes, checkered trousers in shades of pink and green, a blue jacket, and a straw hat. The features of his nose and lips are distinctly rendered, and the pitchfork is held high, signaling his readiness to work.

On the back of the postcard, Isaac penned a New Year's greeting to the Aschberg family. According to the postmark, the postcard was sent in 1923, making it exactly 100 years old. The postcard has been recently framed in a specially crafted, reversible frame handmade by Stockholms Bildhuggeri.

Isaac Grünewald was one of Sweden's most prominent modernist painters. Born in Stockholm in 1889, he studied at the Royal Swedish Academy of Fine Arts and later in Paris under Henri Matisse. Grünewald was heavily influenced by the Fauvist movement, and his work is characterized by its bold use of color and expressionist style.

This watercolor postcard is not only a testament to Isaac Grünewald's skill as an artist but also a piece of history, providing insight into the artist's personal connections and the way in which he used his art to communicate with friends and loved ones. The detailed depiction of the farmer, combined with the personal message on the back and the expertly crafted, reversible frame, make this artwork a fascinating and valuable addition to any art collection.

Alfred Bergström (1869-1930) Sweden

Midsummer Night at Laduviken, 1893
(Midsommarnatt vid Laduviken, 1893)

watercolor
location is Laduviken (Norra Djurgården, Stockholm)
signed and dated Alf. Bergström 93
picture dimensions: 15.5 cm x 16.5 cm (6.10 x 6.50 inches)
frame dimensions: 26 cm x 27.5 cm (10.24 inches x 10.83 inches)

Provenance: 
1932, Marie Louise Lagerström, Sibyllegatan 79; 
thence private collection Stockholm

Exhibited: 
Royal Swedish Academy of Fine Arts, Memorial Exhibition 1932.

Essay: 
We are thrilled to present a charming watercolor painting by the Swedish artist and professor, Alfred Bergström (1869-1930), titled 'Midsummer Night at Laduviken, 1893.' This small yet captivating piece, measuring 15.5 cm x 16.5 cm, was created during the summer of 1893 and depicts the picturesque Laduviken lake in Norra Djurgården, Stockholm.

The lower half of the painting features the lake's calm water, mirroring the sky and surrounding vegetation, including the seagrass that is also reflected on the water's surface. Despite being a nocturnal scene, the sky is illuminated in a soft yellow hue, characteristic of the Swedish midsummer nights when the sun does not fully set, casting a gentle light across the landscape. The forest in the background takes on a bluish tint, adding depth and contrast to the composition.

Alfred Bergström was a prominent Swedish painter and professor at the Royal Swedish Academy of Fine Arts. His artistic career spanned several decades, during which he gained recognition for his landscape paintings, portraits, and genre scenes. Bergström's work often reflects his deep appreciation for the natural beauty of Sweden, and this piece is no exception.

'Midsummer Night at Laduviken, 1893' was featured in Bergström's memorial exhibition at the Royal Swedish Academy of Fine Arts in 1932. It comes beautifully framed in a newly crafted, handmade black frame from Stockholms Bildhuggeri, enhancing its presentation and ensuring its preservation for years to come.

This watercolor painting is not only a testament to Alfred Bergström's skill as an artist but also a tribute to the beauty of the Swedish landscape during one of its most magical times of the year. Its delicate rendering of light and reflection, combined with its historical significance and the inclusion of a finely crafted frame, make it a valuable addition to any art collection.

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

Carl Johansson (1863-1944) Sweden

A Tranquil Landscape View, 1943

oil on wood panel
signed and dated Carl Johansson 1943 -
panel dimensions: 41 cm x 55 cm (16.14 inches x 21.65 inches)
frame dimensions: 57 cm x 71 cm (22.44 inches x 27.95 inches)

Provenance: 
We acquired this piece from a private collection in Canada. 

Condition: 
Very good, newly restored by professional art conservator 2023, the pane is flat and stable. New frame from 2023 included. 

Essay: 
We are delighted to present a beautiful landscape painting by the Swedish artist Carl Johansson (1863-1944). Painted in 1943, during the latter part of his career, this piece showcases many of the elements that earned him the nickname 'Ultramarine Johansson'. The artwork prominently features a serene landscape with two trees in the foreground, their sprawling canopies occupying much of the painting's upper half, allowing glimpses of the sky through the leaves. A winding stream snakes its way through the middle ground, while rolling hills form a tranquil backdrop. The artist's fondness for blue hues is evident, with varying shades of blue defining the sky, water, and even the shadows amongst the foliage. This predilection for blue shades became a defining characteristic of Johansson’s later works, earning him his nickname.

Johansson employs short brushstrokes and a generous application of paint, giving the piece a rich texture and a vibrant, almost impressionistic quality. Although the exact location depicted in the painting remains uncertain, it is believed to represent the area around Sundsvall, a region familiar to the artist.

Carl Johansson’s journey as an artist began in the late 19th century and spanned several decades, during which his style evolved and matured. Initially influenced by the realism movement, his work gradually transitioned to incorporate elements of impressionism, as demonstrated by the short brushstrokes and liberal use of color in this piece. Despite the changes in his style, Johansson remained committed to capturing the beauty and essence of the Swedish landscape throughout his career.

This painting, along with another piece by Johansson, was acquired from a private collection in Canada. It represents an opportunity to own a work by an artist whose dedication to his craft and love for his homeland shines through in every brushstroke.

Alfred Ekstam (1878-1935) Mangskog, Sweden

View Over Lake Mangen, c. 1925

oil on canvas
signed a tergo, A Ekstam
canvas dimensions: 54 x 81 cm (21.3 x 31.9 inches)
frame dimensions: 70 x 96 cm (27.6 x 37.8 inches)

Provenance: 
A Swedish private collection

Essay:
We are pleased to present a magnificent painting by the talented Swedish artist, Alfred Ekstam (1878-1935). This breathtaking landscape features a view over a lake, believed to be Lake Mangen, near Ekstam's hometown. In the foreground, a lush green field extends to the lake, which shimmers in hues of purple, blue, and white, reminiscent of Claude Monet's impressionistic technique of painting water. It is a sight to behold. The sky, filled with clouds, is also mirrored in the water, adding depth and dimension to the scene. In the distance, green mountains loom, completing this picturesque vista. 

Alfred Ekstam was born in Mangskog in 1878, originally with the surname Johansson. He began his career as a painter's apprentice to a local master painter. After a few years, he moved to Stockholm to attend the Technical School, where his ambition to become an artist was ignited. However, finding it difficult to make a living as an artist, he returned to Värmland. Ekstam was a skilled craftsman and was discovered by Elis Eriksson at the Eriksson brothers' furniture workshop, where he was employed as a decorative painter. He also came into contact with notable artists such as Gustaf Fjæstad, Fritz Lindström, and Bror Lindh, who all provided lessons to the budding artist. A significant moment in Ekstam’s artistic journey was a visit to the artist Otto Hesselbom in Säffle, which greatly influenced his painting style. Ekstam's production was modest as he spent a long time on each painting, perfecting every detail. This dedication to his craft paid off in 1919 when all the paintings exhibited at his solo exhibition in Arvika were sold within a week. Tragically, Alfred Ekstam passed away in 1935 while cycling to Edane to visit an exhibition in Karlstad.

This particular piece showcases Ekstam's masterful handling of light and color, and his ability to capture the natural beauty of his homeland. It is not just a painting; it is a window into the serene and beautiful world that Ekstam saw through his own eyes. Don’t miss the opportunity to own a piece of history and beauty, painted by an artist who lived and breathed the very scenes he committed to canvas.

Condition:
When we acquired the painting, it was in desperate need of restoration. Dirt had become encapsulated in the varnish layer, evidently applied by someone unfamiliar with the proper technique. However, the artwork has since been meticulously restored and is now in excellent condition. Additionally, it includes a frame that was newly crafted in 2023.

Helmer Osslund (1866-1938) Sweden

Landscape View From Nordingrå, 1916

signed Helmer Osslund 
watercolor mounted on board
image dimensions 33 x 44 cm (13 x 17.3 inches)
frame 44 x 56 cm (17.3 x 22 inches)
the frame is hand made by Stockholms Bildhuggeri

Provenance:
A Swedish private collection

Essay: 
Helmer Osslund was a renowned Swedish artist known for his expressionist landscape paintings that captured the raw and natural beauty of Sweden. We are delighted to offer for sale a stunning watercolor painting by Osslund titled 'From Nordingrå,' executed circa 1916.

The dating of this piece is interesting; the back of the painting features a pasted page from the Swedish newspaper 'Svenska Dagbladet,' dated 1st May 1916, on which the artist noted the title of the painting in the corner, 'Från Nordingrå.' This not only gives us an intriguing insight into Osslund's work process but also allows us to reasonably assume that the painting was created around 1916.

The subject of the painting is the scenic landscape of Nordingrå in Ångermanland, an area known for its vast expanses and stunning natural beauty. The foreground features the contours of green pines, painted quickly and spontaneously by the artist, a tall mountain to the right, and a body of water in the valley to the left. The background features beautiful blue mountains, characteristic of this region of Sweden. The sky is expertly painted with broad brushstrokes in shades of green, pink, and blue. The painting is beautifully framed with a handcrafted frame from Stockholms Bildhuggeri, which we specially commissioned for this piece.

Osslund's unique approach to landscape painting is evident in this artwork. His use of color and brushwork reflects the influence of the French Impressionists, while his choice of subject matter and his spontaneous approach to capturing the landscape are distinctly his own. This painting is a prime example of Osslund's ability to capture the essence of a place with a fresh and innovative perspective.

Helmer Osslund (1866-1938) was born in Tuna, Medelpad, Sweden. He studied at the Royal Swedish Academy of Fine Arts in Stockholm but was highly influenced by the modernist movements he encountered during his travels to Germany and France. He is best known for his landscape paintings of northern Sweden, which often feature dramatic vistas and vibrant, expressive use of color. Osslund's work was not widely recognized during his lifetime, but today he is considered one of Sweden's most important landscape painters.

'From Nordingrå' is not just a painting; it is a window into the soul of the Swedish landscape and a reflection of Osslund's innovative approach to capturing the beauty of the world around him. Owning this painting is an opportunity to possess a piece of Swedish art history and the legacy of Helmer Osslund.

Hilding Werner (1880-1944) Sweden

Moonlight Over Krokvattnet (near Glafsfjorden)
Swedish title: Månsken över Krokvattnet (nära Glafsfjorden) 

oil on canvas 
signed H.Werner
canvas dimensions 42.5 x 77 cm (16.73 x 30.31 inches)
frame 52 x 86 cm (20.47 x 33.86 inches)
frame is hand made by Christer Björkman. 

Provenance: 
Acquired from the artist by Ralph Almark; Thence within the same family until we acquired it 2023.

Essay: 
Hilding Werner (1880-1944) was a Swedish artist known for his portraits, romantic landscape paintings of Värmland, and caricature drawings. We are privileged to present one of his captivating works for sale - "Moonlight Over Krokvattnet (near Glafsfjorden)".

The canvas, a long piece measuring 42.5 x 77 cm, beautifully captures a scene near Glafsfjorden in Värmland, Sweden. The composition is thoughtfully arranged with land in the foreground, meandering water, a peninsula on the right, and blue mountains in the background. The painting virtually radiates the stunning moonlight that illuminates the scene. The sky, a blend of white and grey clouds, acts as a perfect backdrop for the moonlight that shines and reflects so beautifully on the water. There is a poignant, almost melancholy, atmosphere that envelops the scene. In the foreground on the right, a small red cottage adds a touch of warmth and a sense of human presence to the otherwise tranquil and solitary landscape.

Werner's talent in capturing the nuances of light and the natural beauty of the Värmland landscape is evident in this painting. The almost ethereal quality of the moonlight, the gentle reflection in the water, and the subtle interplay of colors create a mesmerizing and evocative image.

Born to the landowner Anders Andersson and Inga Maria Johannesdotter, Werner's artistic journey began at Caleb Althin's painting school in Stockholm in 1899. He also earned side income as a caricature artist for the newspaper Nya Nisse. His acquaintance with Richard Bergh led him to participate in the Konstnärsförbundet's (Artists' Association) second painting school in 1900-1901. Despite making only one study trip abroad to the Netherlands in 1905, Werner's artistry was influenced by other notable artists such as Gustaf Fjæstad and Otto Hesselbom, whom he encountered during his travels within Sweden.

Werner was one of the initiators of the Värmland Artists' Association and his art, including satirical drawings, was featured in a special exhibition by the Värmland Museum in 2015. He is also represented in the Värmland Museum's collection.

"Moonlight Over Krokvattnet" is not just a painting; it is a journey into the night, a dance of light and shadow, and a reflection of Werner's deep connection to the landscape of Värmland. Owning this painting is an opportunity to possess a piece of Swedish art history and the legacy of Hilding Werner.

Comparable sales:

Bukowskis Stockholm, 2023, Hilding Werner - Twilight landscape, Glafsfjorden, Final price 8,612 € including buyers premium. 

  

Bukowskis Stockholm, Hilding Werner - Landscape Glafsfjorden, Important Winter Sale 645, 2022, Final price 8,025 € including buyers premium. 

Karl Tirén (1859-1955) Sweden

Valley of Liden

oil on board
signed K Tirén
board dimensions 20.87 x 16.54 inches (53 x 42 cm)
frame dimensions 24.80 x 20.47 inches (63 x 52 cm)

Essay:
Step into a world of bygone beauty, captured exquisitely by the masterful hand of Karl Tirén (1869-1955), in this evocative landscape titled "Valley of Liden"

At first glance, one is immediately drawn to the serenity of the scene. A gentle river meanders effortlessly through a lush valley, flanked by verdant hills. The tranquil waterway, the soul of Liden, twists and turns as if dancing to a silent song, holding within its ripples, the secrets of ages. On either side, the gentle slopes rise, cloaked in varying shades of green, providing a serene embrace to the water below. Yet, it's the horizon that truly captures the imagination. Majestic mountains stand proudly in the distance, bathed in ethereal shades of lilac-orange, kissed by the fleeting rays of the setting sun. Above, the sky is a calm expanse of blue, occasionally dotted with soft, lilac clouds, mirroring the hues of the distant peaks.

But as serene as the painting might seem, it also tells a tale of change. Painted roughly a century ago, this depiction showcases Liden as it was — untouched, undammed. Today, due to water reservoirs, the water level has risen, concealing many of the tiny isles depicted in Tirén's painting. This painting, therefore, becomes not just a work of art, but a historical record, preserving the untouched beauty of Liden for future generations.


Liden today. 

Karl Tirén, born in Oviken, Jämtland, was much more than just a painter. A multifaceted genius, he ventured into varied fields — from music to the study of the indigenous Sami people. As a pioneering figure in phonographic recordings of the Sami joik, he has been immortalized in history. His artworks often bear a testimony to his deep connection with Sweden's landscapes and its indigenous cultures. The influences from his extensive travels to England, France, and Germany are evident in the intricate details and the depth of his art. His participation in the 1900 Paris Exhibition, where he was awarded the Grand Prix, speaks volumes of his caliber.

"Valley of Liden" by Karl Tirén isn't just a painting; it's an invitation — to a time and place of untouched beauty, a call to appreciate the delicate balance of nature, and a gentle reminder of the ever-changing landscapes around us. A piece of this caliber isn't merely an addition to a collection; it's an heirloom, a conversation starter, and a testament to the genius of one of Sweden's finest.

Fritz Lindström (1874-1962) Sweden

Saltwater (Kullen) 1917

oil on board
signed and dated Fritz Lindström 1917
board dimensions 35 x 52 cm
frame 47 x 64.5 cm

Essay: 
In the world of classic art, few paintings encapsulate the raw power and tranquility of the sea as vividly as Fritz Lindström's "Saltwater (Kullen) 1917". Painted in the year 1917, this evocative piece transports viewers to the shores of Kullen, a peninsula near Höganäs, nestled between Helsingborg and Båstad. Kullen is renowned for its rocky shores, and this painting captures that rugged beauty flawlessly.

The composition showcases robust cliffs bathed in a kaleidoscope of blues, purples, and browns. They stand tall against the onslaught of powerful waves, their varied colors revealing the myriad hues that sunlight can cast upon rock and stone. This juxtaposition of solidity and fluidity is heightened by Lindström's use of brushwork. His rapid strokes, alternating between short and elongated, lend a sense of urgency and movement to the scene. One can almost hear the waves crashing, their white crests surging forward in a dance of nature's power.

Interestingly, while the sea rages with vigor, the sky above remains calm, suggesting good weather. This duality—of both chaos and serenity—is the essence of Kullen. A place where nature's forces converge, yet a sense of peace prevails.

Lindström, born in 1874 and having left an indelible mark in art till 1962, was not just a solitary genius but was also an active member of the Racksta group. His association with such a revered group of artists further cements his place in art history. They were known for their dedication to capturing the spirit and nuances of Scandinavian landscapes. And in "Saltwater (Kullen) 1917", Lindström's expertise is on full display.

This painting is not just a testament to Lindström's skill but also a tribute to Kullen, highlighting its timeless beauty and ever-resilient spirit. It stands as a testament to the genius of Fritz Lindström and the captivating allure of the Scandinavian coast.

Condition:
Very good, recently cleaned and new frame from 2023.

Provenance: 
A Swedish private collection  

Pieter Cornelis Dommersen (1833 - efter 1913) 
(Also called Pieter Cornelis Dommershuijzen) 

Utrecht, A Day on St. Gertrude's Place (1880)

oil on wood panel
signed and dated 1880
panel dimensions 19.88 x 15.75 inches (50.5 x 40 cm)
frame 26.38 x 22.05 inches (67 x 56 cm)

Essay:
Pieter Cornelis Dommersen, also known as Pieter Cornelis Dommershuijzen (1833 - after 1913) was renowned for his 'capriccio' paintings, where imagination melds with reality, Dommersen created scenes steeped in both authenticity and artistic liberty.

Executed in 1880 during his period of activity in Brussels, "Utrecht: A Day on St. Gertrude's Place" is a prime example of Dommersen's distinct style. Drawing inspiration from Utrecht, this lively streetscape captures the daily vibrancy of life in the Netherlands.

As the viewer's eyes meander through the artwork, they are met with beautifully detailed Dutch buildings made of brick, standing tall and reflecting the warmth of sunlight. The nuances of the scene unfurl – a woman gracefully balances water buckets, while a craftsman sits engrossed, weaving baskets from straw. By a doorway, townsfolk engage in earnest conversation, their chatter almost audible to the beholder.

A stone water pump stands prominently in a nearby square, drawing a crowd eager to replenish their water supplies. Meanwhile, a horse-pulled cart laden with hay makes its departure, its wheels echoing on the cobbled streets. And above, the majestic silhouette of a church looms, its steeple a gathering point for birds, while the sky above paints a picture of a pleasant day with patches of blue peeking through soft clouds.

The fine details, like the shadow of smoke emanating from a chimney on the wall to the right, bring a tangible realism to this imagined setting. Dommersen's genius lies in his ability to infuse his artworks with a spirit of place and time, making them feel both immediate and eternal.

Provenance: 
A Swedish private collection

Ture Ander (1881-1959) Sweden

Floral Symphony, 1936


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

Provenance: 
A private collection, Värmland, Sweden. 

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

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

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

The painting comes with a beautiful dark brown frame.
It is signed and dated '36, this artwork is not just a testament to Ture Ander's unparalleled prowess but also a window into the vibrant art scene of the 1930s, especially within the Racken Group—an influential art collective that profoundly shaped the Nordic art landscape.