INVENTORY

Gottfrid Kallstenius (1861-1943) Sweden

Silent Night, 1921

oil on canvas
signed and dated G Kallstenius, -21
canvas dimensions: 96 x 135 cm (37.8 x 53.1 inches)
frame: 112 x 151 cm (44.1 x 59.4 inches)

Provenance:
A private collection, Stockholm;
Stockholms Auktionsverk, "Stilla natt, 1923",
lot 3086429, 22 okt 2023

Condition:
The painting has recently been restored by a conservator and is perceived to be in very good condition. The canvas is smooth, and the colors are bright and clear. There are small, fine craquelures present, as can be expected with any 100 years old paintings. The frame, likely the original, is in good condition and is included in the purchase.

Essay:
"Silent Night, 1921" by Gottfrid Kallstenius is a wonderful painting that captures the beauty of the Swedish archipelago in moonlight. In our opinion, we think that this painting is arguably one of Kallstenius's most beautiful works, showcasing his unique ability to capture serene moments with emotional depth and technical precision with his brush. The location of the scene is from Tättö towards Kalvö in Sweden.
In the foreground, a couple is gently cradled by a rowboat, adrift in the still waters under a moonlit sky. The moon's reflection on the water creates a path of light that leads the viewer's eye through the painting, highlighting Kallstenius skillful hand of light and shadow.

The inclusion of a distant sailboat adds a layer of depth to the composition, suggesting the vastness of the landscape and the presence of life beyond the intimate scene in the rowboat. Kallstenius's use of muted tones and soft brushstrokes enhances the painting's dreamlike quality, inviting the viewer to immerse themselves in the peacefulness of the moment. The delicate interplay of light and reflection, combined with the subtle gradation of the sky's colors, demonstrates Kallstenius's mastery over his medium and his profound understanding of the nordic light.

Gottfrid Kallstenius, born in Västervik, Sweden, was an artist whose journey took him through various phases of learning and exploration. From his early education under Edvard Perséus to his formative years at the Royal Swedish Academy of Fine Arts, Kallstenius developed a foundation that would support a lifetime of artistic achievement. His travels in Paris, Brittany, and Italy, alongside his wife Gerda Roosval, further enriched his palette and influenced his shift from Realism to exploring new stylistic territories.

Despite his diverse artistic endeavors, which included teaching, mural painting, and writing about the art of oil painting, it is in works like "Silent Night, 1921" that Kallstenius's legacy truly shines. 

Olof Sager-Nelson (1868-1896) Sweden

Bruges, 1894

oil on canvas
unframed 37 x 24.5 cm
framed 53 x 40 cm
handmade oak frame by
Stockholms Förgyllnings och Bildhuggeri.

Condition:
Recently restored by Sonia Leon. When we received it, the brushstrokes were almost entirely obscured by a thick, old varnish. Today, it is in very good condition, and the colors have been revived. The frame, which is made of oak, is handcrafted by Christer Björkman.

Provenance:
Ina Colliander, relative of the artist.

Exhibited:
Thielska Gallery, Stockholm, "Olof Sager-Nelson and his
contemporaries – Anywhere out of the world" September, 2015.
Dalsland Museum.

Essay:
This painting by Olof Sager-Nelson, executed during his time in Bruges in 1894, is a splendid example of symbolism. It depicts a serene canal in Bruges, surrounded by sunlit houses whose reflections gracefully dance upon the water's surface. The choice of Bruges as a subject reflects Sager-Nelson's fascination with the town, a sentiment he shared with many artists of his time. In his correspondence, he often spoke of the struggle to complete paintings that he could send back to Sweden, highlighting his dedication and the financial support he received from patron Pontus Fürstenberg.

Sager-Nelson's life was marked by significant personal challenges, including the loss of his mother at a young age and his father's emigration to the USA after being convicted of embezzlement. Opting for an artistic path after an unsuccessful attempt to study engineering, he found his calling in the arts, studying under Bruno Liljefors at Valand's art school and later drawing inspiration from contemporaries like Édouard Manet, James McNeill Whistler, and Paul Gauguin in Paris. His paintings from 1894, among which this piece is a prime example, are considered his most accomplished works.

Symbolism, as a movement, sought to express the idea that reality could be symbolized by forms and colors that evoke an emotional response rather than directly represent the world. Sager-Nelson's work reflects this philosophy through its emotive use of color and composition, seeking to capture the essence and atmosphere of Bruges rather than a mere photographic representation.

The painting's previous ownership by Sager-Nelson's relative, Ina Colliander, adds to its historical and sentimental value. Sager-Nelson's exploration of symbolism was not just a mere artistic endeavor but a deep, personal journey into the complexities of human emotions and the mysteries of existence, often reflecting his own intense feelings and inner world.

This work stands as a testament to Sager-Nelson's brief but impactful career, capturing the beauty of Bruges through a symbolist lens. It invites the viewer to look beyond the physical world into the emotional and spiritual realms that Sager-Nelson navigated with such passion and sensitivity.

ARVID JACOBSSON (JACOBSON) (1881–1966) SWEDEN

ST ERIKSBRON SEEN FROM STADSHAGEN, 1908

signerad och daterad arvid Jacobson 1908
mixed media
framed 46 x 40.5
unframed c. 34 x 28.5 cm

Essay:

This enchanting painting by Arvid Jacobsson (Jacobson)(1881–1966), executed in 1908, offers a captivating view of St. Eriksbron as seen from Stadshagen on Kungsholmen. Jacobsson has beautifully captured the essence of early 20th-century Stockholm, a period of significant urban development and transformation.

The focal point of this artwork is the old St. Eriksbron, a bridge that was inaugurated in 1906, featuring its distinctive arches. This bridge not only serves as a crucial link between Kungsholmen and Vasastaden but also marks the boundary between Barnhusviken and Karlbergssjön. The original bridge, a combination of truss and arch structures spanning a length of 226.8 meters, was pivotal in connecting the disjointed parts of Sankt Eriksgatan.



Stadshagen, the area from which this view is depicted, is situated in the northwest part of Kungsholmen and has a rich history dating back to the 1600s. Initially serving as grazing land for the city, the area evolved over centuries from agricultural fields to a hub for industrial activities, including a cotton mill and a sugar refinery in the 19th century. By the late 19th century, due to housing shortages, it became a makeshift home for the city's poor, transforming in the 20th century into a residential area with one of Stockholm's oldest allotment garden associations, Karlbergs-Bro koloniförening, established in 1909.

St. Eriksbron itself has undergone significant changes over the years. The original structure was replaced in the mid-1930s by a steel girder bridge, retaining only four of its original seven spans visible today. This transformation was part of Stockholm's urban development, accommodating the city's first two-story bridge in 1944 to include a lower level for the future subway. The bridge once carried the major European route E4, emphasizing its importance in Stockholm's infrastructure.

Jacobsson's painting not only captures a moment in Stockholm's urban development but also preserves the memory of a landscape on the brink of transformation. The juxtaposition of the natural beauty of Stadshagen with the industrial and architectural advancements embodied by St. Eriksbron offers a unique glimpse into Stockholm's past, making this artwork a significant piece of cultural heritage.

ROBERT THEGERSTRÖM (1857-1919) SWEDEN

WINTER LANDSCAPE, 1908

watercolor 
signed and dated R Thegerström 1908
visible image 28 x 36.5 cm
framed 36.5 x 46.5
hand made frame by Stockholms Förgyllning och Bildhuggeri. 

Condition: Very good.
 
Provenance: 
Jack and David Berner

Essay: 
This watercolor by Robert Thegerström, a Swedish painter, draftsman, and graphic artist, captures a serene winter scene from 1908. The artwork presents a frozen lake bathed in warm sunlight, conveying a peaceful atmosphere. The soft, subtle gradients of color showcase Thegerström's mastery of the watercolor medium, adeptly capturing the fleeting moments of natural light and its reflection on the icy surface. This piece is a testament to the artist's ability to blend realism with a poetic sense of atmosphere, characteristic of his work.

Robert Thegerström, born on January 6, 1857, in London, and passing on August 9, 1919, in Stockholm, was a pivotal figure in Swedish art. His education at the Royal Swedish Academy of Arts in Stockholm and subsequent studies in Paris placed him among the ranks of influential artists like Ernst Josephson, Carl Larsson, and Anders Zorn. Thegerström's Paris years were marked by engagement with the vibrant art scene, notably through his studies at Académie Julian and participation in the Paris Salons and the 1889 World's Fair, where he was awarded. His work, often reflecting the influence of his travels and encounters, spans from detailed architectural studies in Egypt to intimate landscapes and portraits back in Sweden.

After settling in Sweden, Thegerström became known for his atmospheric landscapes, capturing the essence of Swedish nature and light. His residence, Villa Tallbacken in Djursholm, became a cultural hub, reflecting his social standing and contributions to the artistic and musical life in Stockholm. Thegerström's legacy extends beyond his paintings, as he played a significant role in the artistic community, co-founding the Konstnärsförbundet (Artists' Association) and influencing Swedish art education and exhibition practices.

This watercolor, offering a glimpse into the quiet beauty of a Swedish winter, not only celebrates Thegerström's artistic achievements but also his role in the cultural life of his time.

NILS KREUGER (1858-1930) SWEDEN

COWS GRAZE IN A MEADOW, 1907

pencil, paper
paper 9 x 14 cm
frame 18 x 23.5 cm

Provenance: 
The artist;
Gifted to the artist's sister, Elisabeth Gustafva Kreuger;
Passed down to her daughter, Rut Elin Moren Lindell;
Inherited by her son, Bo Lindell (1831-2012);
Subsequently passed to his son, Ulf Lindell (born 1956).

Essay:
This drawing by Nils Kreuger, a Swedish artist born on October 11, 1858, in Kalmar, and who passed away on May 11, 1930, in Stockholm, showcases a quintessential theme found in his work. The sketch depicts several cows grazing in a field, captured swiftly and with a confident hand, embodying the essence of Kreuger's artistic pursuits. The landscape, drawn in 1907 as indicated, is indicative of Kreuger's fascination with the Swedish countryside, a theme recurrent in his oeuvre post his return from France in the late 19th century.

Nils Kreuger, a pivotal figure in Swedish art, was deeply influenced by his studies in Paris and his interactions with artists at the Grez-sur-Loing artist colony. His early works in France were influenced by the plein-air painting of the French countryside, characterized by a sensitive use of color and light to capture various times of day and weather conditions. Upon his return to Sweden, Kreuger became a founding member of the Varberg School, alongside Richard Bergh and Karl Nordström, transitioning to a style that emphasized the symbolic and national-romantic over the purely observational. This period saw him focusing on landscapes, often featuring grazing livestock, with a stylistic shift influenced by the likes of Paul Gauguin and Vincent van Gogh. Van Gogh's influence is particularly noted in Kreuger's adoption of a unique technique involving dots and small lines, which articulated the terrain and enriched the emotional content of his work.

In later years, Kreuger’s technique evolved further, replacing ink lines with color patches applied with vigorous brushstrokes, contributing to a mosaic-like surface in his paintings. Despite the influence of van Gogh, Kreuger’s work seldom sought the same intensity of expression, instead finding a unique voice through the formal and decorative qualities of his lines and colors.

Kreuger’s contributions to Swedish art are significant, with his work displayed in prestigious museums such as the Nationalmuseum in Stockholm, the Thielska Galleriet, and internationally. 

Alfred Thörne (1850-1916) Sweden

Birch Trees by the Stream

oil on canvas
signed and dated Alfred.Thörne 1902
unframed 27 x 17 cm
framed 38 x 28 cm

Provenance: 
A Swedish private collection.

Essay:
This enchanting painting called Birch Trees by the Stream by Alfred Thörne captures the serene beauty of a small forest scene, measuring just 27 x 17 cm. The artwork is a testament to Thörne's fascination with nature, particularly his recurring motif of streams, as evidenced by the delicately painted creek meandering through the left side of the canvas. The sunlit birch trees, a central element in this composition, are rendered with such luminosity and detail that they seem to glow against the shadowed forest backdrop. This piece not only showcases Thörne's mastery of light and texture but also his deep appreciation for the Swedish landscape.

Alfred Thörne, born on April 24, 1850, in Horn, Östergötland, and passed away on March 15, 1916, in Stockholm, was a distinguished Swedish painter. The son of shoemaker Sven Petter Thörne and Inga Catrina Nilsdotter, he married Matilda Josefina Wahlberg in 1891. Thörne's artistic journey began at the Royal Swedish Academy of Arts in Stockholm, where he studied under Per Daniel Holm from 1874 to 1880. His exceptional talent was recognized early when he was awarded the Royal Medal in 1880 for his painting "Sommarmorgon" (Summer Morning). In 1881, he became an agré at the academy, and his pursuit of artistic excellence took him across Europe, with a travel scholarship enabling him to study in Germany, France, Italy, and Belgium from 1884 to 1886.

Thörne's oeuvre spans a variety of subjects, from the mountainous landscapes of southern Germany to the pastoral beauty of Mälardalen, Dalarna, and Bergslagen in Sweden. His work includes portraits and was also recognized for his contributions to religious art, notably an altarpiece for Vimmerby Church. His paintings were widely exhibited, including solo and group exhibitions in Stockholm, the Nordic Art and Industrial Exhibition in Copenhagen in 1888, the Gothenburg Exhibition in 1891, the World's Columbian Exposition in Chicago in 1893, and many others across Sweden. A posthumous exhibition at the Konstnärshuset in Stockholm in 1916 commemorated his contributions to Swedish art.

Thörne's legacy lives on through his representation in several prestigious institutions, including the Nordiska Museet, Nationalmuseum Stockholm, Östergötlands Museum, Norrköping's Art Museum, Gävle Museum, and Sundsvall Museum. 

Henrik Nordenberg (1857-1928) Sweden

A Moment of Quiet Reflection

oil on canvas
signed Henrik nordenberg
unframed 45.5 x 61 cm
framed 56.5 x 71.5 cm

Condition:
The painting has recently been restored by our art conservator. It had some color loss that needed retouching. A new layer of varnish has been applied. Today, it is experienced in fine condition with a new gold frame.

Essay:
In the heart of a meticulously detailed, antique interior, "A Moment of Quiet Reflection" by Carl Henrik Nordenberg captures a serene and intimate moment that transcends time. The painting, rich in warm, earthy tones and imbued with a palpable sense of tranquility, invites viewers into a private world where time appears to stand still. At the center of this captivating scene is a man, ensconced in the comfort of his home, deeply engrossed in reading. His blue cap and reading glasses, along with the soft light that envelops him, lend a personal and timeless quality to the composition, evoking a universal appreciation for the simple pleasures of life.

The setting of this painting is a testament to Nordenberg's skill in portraying interior spaces with historical authenticity and atmospheric depth. The room, with its robust wooden furniture, floor clock, and decorative bowls perched on a shelf, speaks of a bygone era, reminding us of how domestic interiors have evolved over time. Yet, despite the passage of years, the act of reading, of losing oneself in the pages of a book, remains a constant source of joy and reflection.

Henrik Nordenberg (1857–1928), a figure of the Düsseldorf School, was renowned for his landscape, genre, and interior paintings, as well as his work as an etcher and lithographer. Born in Sweden and later settling in Düsseldorf, Nordenberg was a part of a vibrant artistic community, contributing significantly to the genre and interior painting traditions of his time. His depiction of everyday life, infused with warmth, humor, and a keen eye for detail, earned him a distinguished place among his contemporaries.

 

Carl Johansson (1863 - 1944) Sweden

Sturehäll, 1892

oil on canvas
signed Carl Johansson Sturehäll 1892 
unframed 30 x 45 cm
framed 40 x 54.5 cm
hand crafted black frame by Christer Björkman is included.

Provenance: 
Bukowskis, April 1990, lot 47, "Insjövik med vass" (1892), hammer price 7.135 €

Essay:

This painting called Sturehäll by Carl Johansson, crafted in 1892 when the artist was 29 years old, offers a captivating glimpse of Sturehäll, near Sturehov in Norsborg. This piece, stemming from a critical period just after Johansson's return from Grez-sur-Loing—a place renowned for inspiring Swedish artists in the late 19th century—showcases the tranquil yet dynamic essence of nature. At first glance, the scene conveys a serene lakeside adorned with reeds along the shore of Lake Mälaren, but a closer examination reveals a more dramatic natural depiction. Johansson's rapid and confident brushwork breathes life into the reeds, while his technique of incising with the reverse end of the brush adds a layer of drama and texture, enhancing the painting's depth through impasto.

This early work is particularly rare and fascinating due to the significant evolution of Johansson's style over his career. In his later years, Johansson sought to recollect his early pieces, indicative of their importance in his artistic journey. The painting not only reflects Johansson's mastery over landscape but also his innovative approach to capturing the essence of his subject matter.

Johansson, born in Härnösand, drew inspiration from various landscapes, including Northern Sweden, France, Tenerife, and Italy, painting them with the sun positioned at 30 degrees north-northwest. His artistic talent was nurtured under the guidance of Edvard Perséus and at the Royal Swedish Academy of Arts. Johansson's journey through art was marked by his association with the Opponents and his exploration of Impressionism, influenced by luminaries such as Claude Monet and Camille Pissarro.

This piece not only embodies Johansson's transition into a more impressionistic style but also serves as a testament to his enduring connection to the Swedish landscape, particularly the pastoral and historic setting of Sturehov. The manor, built in 1781 in the Gustavian style, and its surrounding parklands and agricultural landscapes, offer a window into Sweden's rich cultural heritage, echoed in Johansson's painting.

Old map shows Sturehov and Sturehäll. 

Oscar Ohlson (1847-1912) Sweden

Halmstad Harbour Seen From the North, 1889

oil on canvas
signed and dated Oscar Ohlson 1889

unframed: 27 x 40 cm (10.6 x 15.7 inches)
framed: 36.5 x 50.5 cm (14.4 x 19.9 inches)

Compare: 
An almost identical painting with the same motif and executed in the same year can be found in the Halland Art Museum (Hallands konstmuseum), inventory number HMK000588.

Essay:
The painting "Halmstad Harbour Seen From the North" by Oscar Ohlson is a captivating snapshot of daily life and historical architecture, frozen in time from the year 1889. With a meticulous eye for detail, Ohlson has rendered approximately 25 boats in the harbor, each brimming with the quiet bustle of daily chores. The painting invites viewers to step into a moment where people converse, work, and seek respite from the sun under shared umbrellas, while wisps of smoke subtly rise from several boats, suggesting the presence of life and activity beyond the canvas.

In this vibrant scene, a man carries a sack, perhaps fresh merchandise from one of the docked vessels, while others engage in conversation, highlighting the social tapestry of the harbor. Ohlson's masterful use of light reflects on the water, creating a shimmering path that leads the eye to the majestic Halmstad Castle, which adorns the right side of the painting. This historic building, beautifully situated by the Nissan river and not far from the sea, is a testament to Halmstad's past as a Danish territory. Constructed in the early 17th century during the reign of King Christian IV, the castle stands as a reminder of the town's rich history and cultural heritage.

The first building to the right, once part of this historic tableau, has been removed to accommodate modern necessities, replaced by a road that now runs through its former site. This juxtaposition of past and present is a poignant commentary on the evolution of cities and the sacrifices made in the name of progress.

Halmstad itself, a town that straddles the Nissan river, retains much of its early 20th-century character in its city core. Low brick and half-timbered houses, some dating back to the 17th century, dot the landscape. The town center on the west side of Nissan is bordered by remnants of early 17th-century fortifications, including the 1600s castle, Norre Port from 1601, and King Charles XI's path along the old fortress wall. At the heart of the town is Stora Torg with Carl Milles' Europa and the Bull fountain from 1926, and the town hall built in 1938. The city layout, influenced by Renaissance planning, converges at Stora Torg, which is also home to the town's sole medieval building, the brick hall church of St. Nikolai from the 14th century.

Oscar Ohlson (1847-1912), a native of Linneryd, Småland, was a multifaceted individual. Beginning his career with a legal degree from Uppsala University in 1870, Ohlson's passion for the arts led him to pursue music studies before dedicating himself to art under the guidance of Alfred Wahlberg. Settling in Borås, he imparted vocal lessons and crafted his artistic legacy. Ohlson's oeuvre primarily consists of moonlit landscapes and idyllic scenes from Öresund and Blekinge, capturing the tranquil beauty of the Swedish countryside.

The "Halmstad Harbour Seen From the North" stands not only as a beautiful work of art but also as a historical document, allowing us a glimpse into the vibrant life of Halmstad during the late 19th century, as seen through the delicate brushstrokes of Oscar Ohlson.

Oscar Ohlson (1847-1912) Sweden

"Långälven, Värmland"

oil on canvas
signed Oscar Ohlson
unframed 25.5 x 38.5 cm
framed 35.5 x 48.5

Essay:
This enchanting Swedish painting, dated circa 1890, is believed to depict the tranquil waters of Långälven in Värmland, a testament to Ohlson's prowess in capturing the essence of the Swedish countryside.

The scene is a gentle narrative, where we witness a family moment frozen in time. Parents stand by their daughter on a wooden dock, poised to embark on a journey across the reflective waters. The young girl, dressed in period attire, appears eager and curious, a universal symbol of youth's anticipation for adventure. Her parents, dressed in the fashion of the late 19th century, exude a sense of calm and assurance.

Ohlson's brushwork brings the scene to life with a delicate interplay of light and shadow, mirroring the cloud-speckled sky on the lake's surface. The background is dotted with other vessels, suggesting the shared pleasure of the day's end on the water.

Oscar Ohlson (1847–1912), born in Linneryd, Småland, and later settling in Borås, was a multifaceted artist who, after pursuing law, found his true calling in the arts. A student of Alfred Wahlberg, Ohlson's works are characterized by moonlit landscapes and idyllic themes from around Öresund and Blekinge. This painting is a fine example of his landscape oeuvre, reflecting a romantic yet realistic portrayal of Swedish nature and leisure at the turn of the century.

Ulf Linde (1929-2013) Sweden

Seen from Behind 

gouache on board
signed U.L and dedicated to "Berit"
unframed 8.27 x 5.12 inches (21 x 13 cm)
framed 11.81 x 8.46 inches (30 x 21.5 cm)

Literature:
"Ulf Linde - Essays from a Lifetime in the Arts" from 2023 is included in the purchase. 

Essay:
This gouache painting by Ulf Linde, a multifaceted Swedish figure, presents a unique portrayal of a woman seen from behind, set against a blue and white striped background. The artwork, likely from the 1970s or 1980s, reflects Linde's admiration for René Magritte, whose influence can be discerned in the mysterious and thought-provoking silhouette. The absence of facial features draws the viewer's attention to the form and posture, perhaps challenging us to consider the unseen aspects of identity and presence.

Ulf Linde (1929–2013) was a renowned Swedish art critic, jazz musician, author, museum director, professor, composer, and member of the prestigious Swedish Academy. His father was Harald Linde, an engineer, and his mother Karin Krouthén. Linde's career spanned various realms of art and culture; he was first married to Bertha Lundgren and, after her passing, to Nina Öhman, who succeeded him as the head art curator of the Thielska Gallery.

Linde's membership in the Royal Swedish Academy of Fine Arts from 1963 and the Swedish Academy from 1977 marked his prominent role in the arts. He succeeded Eyvind Johnson in seat number 11 of the Swedish Academy and directed the Thielska Gallery for 20 years.

As an art critic for Dagens Nyheter from 1956 to 1968, Linde was recognized for his radical views on art, emphasizing the viewer's participatory role. His book "Spejare" ('Scouts') from 1960, was a collection of articles on the "informal" artists and was instrumental in triggering Sweden's "great art debate" of 1962. Lind's profound interest in Marcel Duchamp led him to create replicas of Duchamp's works, some of which were signed by Duchamp himself and are now housed in the Moderna Museet in Stockholm.

After leaving Dagens Nyheter in 1968, Linde continued to shape Swedish art discourse as a professor of modern art theory at the Royal Institute of Art and as an interim director at the Moderna Museet. His legacy includes over a hundred temporary exhibitions at the Thielska Gallery, and his "micro-essays" are compiled in the book "Presentationer" ('Presentations').

This particular gouache is accompanied by an exquisite pine frame, adding to its allure. It is dedicated to someone named "Berit," possibly someone of significance in Linde's life. The artwork, through its simplicity and evocative use of color and silhouette, embodies a magnetic charm that is difficult to articulate but deeply felt, much like the enigmatic works of Duchamp and Magritte that Linde admired so much.

August Hagborg (1852-1921) Sweden

Quiet Contemplation, c. 1910-20

watercolor on paper
unframed 13.4 x 9.8 inches (34 x 25 cm)
framed 17.7 x 14.2 inches (45 x 36 cm)

Provenance:
A Swedish private collection.

Essay:
The artwork we present is a rare watercolor by the distinguished Swedish artist August Hagborg, painted in the later part of his career between 1910 and 1920. This watercolour is a departure from Hagborg's often-seen beach scenes with mussel pickers and instead offers a glimpse into a serene, pastoral moment. The scene is set against a timber house, with a man and a woman standing alongside, their gazes directed away from the viewer, which invites contemplation about the story behind their distant stares.

Watercolors by Hagborg are rare, making this piece particularly special. Its fine details suggest a mastery of the medium, likely honed over the years of his extensive career. A written letter from Göteborgs Konstmuseum, dated to the 1940s, suggests a later date for this piece.

August Hagborg, born on May 26, 1852, in Gothenburg and passed away on April 30, 1921, in Paris, was a renowned figure in the art world. His education at the Royal Swedish Academy of Arts in Stockholm from 1871 to 1874 placed him among peers who would rise to prominence, such as Carl Larsson and Anders Zorn. Moving to Paris in the fall of 1875, Hagborg initially painted within the costume genre before finding his niche in coastal landscapes that garnered him accolades and recognition.

Hagborg's success was punctuated by his 1879 painting "Low Water at the English Channel," which won a medal and secured his position as an artist of note. He continued to paint scenes from the Swedish coasts during his summer visits and later from Dalarna after 1914. His travels outside France were limited, but he did visit Devon, England, in 1884 and Italy later in life.

Honoured with a knighthood in the Order of Vasa in 1883 and as a Commander Second Class of the Order of the North Star in 1908, Hagborg's work is represented in major museums such as the Nationalmuseum in Stockholm and Musée d'Orsay in Paris.

Albert Larsson  (1869-1952) Sweden

Twilight Landscape with Windmill and Church, 1891

oil on canvas
signed and dated a.L 91
unframed 31 x 48 cm (12.20 x 18.90 inches)
framed 38 x 54 cm (14.96 x 21.26 inches ​)

Provenance:
A Swedish private collection.

Essay:
"Twilight Landscape with Windmill and Church" is a captivating work by Swedish artist Albert Larsson, painted in 1891 when Larsson was 22 years old. The painting captures a landscape steeped in the quietude of dusk, with a sky ablaze in hues of red and orange, signalling the end of the day. The silhouettes of trees are rendered with astonishing detail against the twilight sky, showcasing Larsson's early mastery of light and shadow.

Dominating the pastoral scene is a traditional windmill, its blades stilled against the sky, alongside the spire of a church that pierces the horizon. These structures, together with the meticulously painted trees, are testaments to the human presence within the natural world, suggesting a harmony between the two.

A notable feature is the small water-filled furrow in the field, which catches the fading light of the sky, creating a pathway of reflection leading the eye through the composition. This detail highlights Larsson's skill in using light to draw attention to elements within his paintings.

Albert Larsson, born on November 4, 1869, in Malmö and passing on August 31, 1952, in Lund, was an artist deeply influenced by his education in Copenhagen at the Art Academy and later at Peder Severin Krøyer's painting school. Settling in Malmö from 1900, Larsson co-founded the Skånska konstnärslaget (Scanian Artists’ Association) and Skånes konstförening (Scanian Art Association). His role as a commissioner for the association's exhibitions across the region was pivotal.

Larsson's oeuvre is most cherished for its mood landscapes, which often capture the ethereal qualities of light over the Scandinavian terrain. His works, including "Moonlight over the Plain" at the Gothenburg Museum of Art and "A Farm at Dusk" at the Malmö Art Museum, exhibit his enduring fascination with the poetic interplay of light and atmosphere. "Twilight Landscape with Windmill and Church" stands as an early indication of his profound ability to evoke mood and place through his art, making it a prized piece for collectors of Scandinavian landscapes.

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.

Carl Skånberg (1850-1883) Sweden

A Landscape Study

oil paint on wood panel
unframed 12 x 22 cm
framed 21.5 x 31.5 cm

Provenance: 
It was given as a gift from his widow Ellen Hintze to relatives of Carl Skånberg.

Essay:
Carl Skånberg is known for his delicate brushwork that echoed the early influence of Impressionism in Swedish art, Skånberg's work typically carries a certain mystique and emotional depth.

In this probable French landscape, Skånberg employs a monochromatic gray scale with hints of a faintly blue sky, reminiscent of the Grisaille technique. With simple, thin brush strokes, he painted a landscape that invites contemplation and introspection. The silhouette of a lone man walking in the middle of the painting adds a narrative element, while the sparse trees add to the composition's solitude. The visible snaking trail of the brush across the canvas speaks to the artist’s method and the physical act of painting.

Carl Skånberg, born on June 12, 1850, in Norrköping, Sweden, overcame personal hardships and societal obstacles to become a prolific painter, despite a serious illness that caused him great suffering. His determination to study and excel in the art led him from a painter's workshop in Stockholm to the influential circles of the Royal Swedish Academy of Fine Arts and eventually to the artistic meccas of Paris and Italy. Skånberg’s life was rich with experiences that were as diverse as his friendships with prominent artists of his time such as Ernst Josephson, Carl Fredrik Hill och Carl Larsson. 

Carl Skånberg's life, though marked by his remarkable artistic contributions, was also touched by personal moments of both joy and sorrow. In 1881, seeking a reprieve for his health, Skånberg traveled to Italy—a country renowned for its inspiring landscapes and rich cultural heritage. It was there, amidst the historic beauty of Rome, that he encountered Ellen Hintze. Their meeting, likely at a Scandinavian social club—a haven for expatriates and artists alike—blossomed into love, culminating in marriage at the Consulate with the notable playwright Henrik Ibsen among the guests, a testament to the vibrant Scandinavian community that thrived in Italy during that period.

However, this joyous occasion was shadowed by Skånberg's declining health. Afflicted by Pott's disease since childhood, the artist suffered from respiratory complications, which were further exacerbated by his smoking habit. The hope that Italy's milder climate would provide relief was short-lived. Plagued by relentless asthma attacks, Skånberg was compelled to return to Sweden for treatment.

Despite the best efforts of his doctor, Axel Munthe—an esteemed physician known for his work with respiratory illnesses—Skånberg's health continued to deteriorate. The young artist's life was cut tragically short when he passed away in Stockholm, merely six months after his return from Italy and at the age of 32.

Skånberg's landscapes, coastal scenes, and later Italian-inspired works are a testament to his enduring spirit and artistic legacy, with his paintings being displayed in prominent museums such as the Nordiska museet, Nationalmuseum, and Göteborgs konstmuseum. 

Ture Ander (1881-1959) Sweden

A Värmland Landscape, 1941

watercolor on paper
signed Ture Ander
dated a tergo 1941
unframed approx. 24 x 32 cm
framed 35.5 x 43 cm
new frame with UV protected glass is included


Provenance:
A private collection. Värmland

Essay:
"A Värmland Landscape" is a watercolor painting by Ture Ander, an artist who was a member of the Racken Group. This artwork, incorrectly titled "Vår i Värmland, 1941" (Spring in Värmland, 1941) on its verso, actually depicts a serene autumnal scene, a testament to Ander's affinity for the Värmland landscape. Golden birches command the foreground, elegantly framing the composition on the left, while a soft, bluing forest provides a tranquil backdrop. A field, radiant in yellow, further enriches the scene, embodying the essence of autumn's embrace. Ture Ander's masterful application of a vivid, lilac hue on select spots infuses the painting with dynamic energy, a hallmark of his artistic prowess.

Ture Ander, born on September 17 in Askers parish, Örebro, embarked on his artistic journey at a tender age. Moving to Stockholm at thirteen, he apprenticed as a painter while attending evening courses at the Technical School (later known as Konstfack). Earning his journeyman's certificate in 1902, Ander graduated from the Technical School the following year with commendable grades in painting. His artistic path led him to the Konstnärsförbundet School in 1905, where he studied alongside notable figures like Leander Engström, Isaac Grünewald, and Einar Nerman. Ander's participation in the influential exhibition "De Unga" in 1909 marked a significant milestone in his career.

Further honing his skills, Ander studied at Colarossi in Paris between 1911 and 1912, drawing inspiration from the works of Cézanne. His personal life intertwined with his artistic endeavors when he married Ragnhild Franzén, who studied under the Fjæstad sisters. The couple settled in Orrhöjda near Racken, enduring financial hardships with resilience and simplicity—Ragnhild gathering berries and mushrooms, while Ture hunted and fished.

The later years of Ture Ander's life were shadowed by sorrow following Ragnhild's prolonged illness and eventual passing. This profound loss resonated in Ander's art, mirroring the depth of his emotions and the intricacies of human experience. Through works like "A Värmland Landscape" Ture Ander's legacy endures, capturing the fleeting beauty of nature and the poignant hues of life itself.

Carl Johansson (1863-1944) Sweden

Summer Landscape with Road, 1889

oil on canvas
signed and dated Carl Johansson . 89 .
unframed 27 x 39 cm
framed 41,5 x 53 cm

Provenance:
The previous owner bought it in 1988 at Åmells Stockholm for 106.000 SEK. 

Literature: 
Åmells exhibition catalogue, 1988, nr 5, "Sommarlandskap med väg"

Essay:
Carl Johansson's "Summer Landscape with Road" is an exquisite landscape that encapsulates the serene beauty of the Swedish countryside. Painted in 1889, the same year Johansson showcased his work at the Exposition Universelle in Paris, one can't help but wonder if this very painting was among those displayed at the fair.

Exposition Universelle de 1889

Johansson's early works, such as this one, are exceedingly rare, making "Summer Landscape with Road" not only a visual delight but also a collector's gem. The painting's magnificent gold frame enhances the bright, vivid colours of the small-format artwork, creating an impactful presence.

Carl Johansson's blue impressionistic depictions of Northern Sweden earned him the nickname "Ultramarine Johansson", and his paintings are celebrated in prestigious collections, including the Nationalmuseum in Stockholm, Kalmar Art Museum, and the municipality of Hudiksvall.

Winter Landscape 1890, mixed media, Nationalmuseum, inv no NMH 196/1963. 

Erik Tryggelin (1878-1962) Sweden

Sankt Matteus Church, 1907

oil on board
signed and dated E.Tryggelin 3/5 1907
unframed 51 x 34.5 cm
framed 62 x 45.5 cm

Provenance: 
A Swedish private collection. 

Essay:
The painting we have for sale, executed by Swedish artist Erik Tryggelin on May 3rd, 1907, presents an atmospheric and dynamic view of Sankt Matteus Church in Stockholm. This piece is a prime example of Tryggelin's ability to blend figurative compositions with urban motifs, particularly capturing the evening moods of cityscapes. The church, set against a dramatic sky that swirls with tumultuous clouds and birds in flight, conveys a feeling of timelessness and stoic beauty amidst the changing weather.

Erik Tryggelin was not only a painter but also a skilled draftsman, printmaker, and photographer. His oeuvre primarily consists of city scenes and evening ambiences, especially from Stockholm, Visby, and Vadstena. 

Sankt Matteus Church, the subject of this painting, is the parish church in Sankt Matteus parish in the Stockholm diocese, located in the Vasastan area of central Stockholm. Erected based on the designs of architect Erik Lallerstedt at the intersection of Vanadisvägen and Dalagatan between 1901-1903, it originally served as a chapel in the then Adolf Fredrik's parish. The building exudes a mix of Art Nouveau and Neo-Gothic styles, with its tall spire and ornate facades, which Tryggelin has masterfully captured in this painting.

Tryggelin's work offers a glimpse into Stockholm's society at the dawn of the 20th century, a city caught between the old and the new, where traditional forms and emerging modernism intersected. His paintings, such as the one of Sankt Matteus Church, are significant for their cultural and historical value, capturing the essence of Stockholm’s architectural and cultural history. This piece is not only a visual treat but a fragment of Stockholm's soul, as seen through the eyes of a dedicated artist who chronicled the city's narrative with his brush.

Carl Kjellin (1862-1939) Sweden

Sunset Over the Lake, 1919

oil on canvas
signed and dated C Kjellin 19
unframed 76 x100 cm
framed 91 x 116 cm

Provenance:
A gift from the artist to doctor Knut Harald Giertz;
Malma Gård Östergötland.


Essay:

"Sunset Over the Lake" by Carl Kjellin is a Nordic Light painting capturing the ephemeral beauty of a lake at sunset. The vibrant canvas, dominated by a brilliant orange sky reflecting upon the water's surface, evokes a sense of tranquility and awe. Kjellin's use of intense colors and the contrast between the dark foreground of trees and bushes creates a depth that draws the viewer into the landscape. The meticulous brushwork suggests movement through the serene stillness of nature, with a lone bird in flight enhancing the painting's dynamic feel.

Born on January 10, 1862, in Sweden, Carl Kjellin was not only an accomplished artist but also a respected drawing teacher. His education at the Royal Swedish Academy of Arts in Stockholm from 1881 to 1886, and subsequent studies in the Netherlands and Düsseldorf, as well as etching under Axel Tallberg, equipped him with a diverse skill set. Kjellin's oeuvre includes portraits and scenes from Bergslagen, featuring forges, blast furnaces, and charcoal kilns, reflecting his deep connection with Swedish landscapes.

His contributions to exhibitions at the Royal Academy, the Swedish General Art Association, and the Swedish Artists' Association were noteworthy, earning him scholarships in 1890 and 1891. Kjellin's legacy as a drawing instructor at the Technical School in Stockholm from 1898 to 1927 left a significant impact on the generations that followed. His works, including several drawings, are held in the collections of the Nationalmuseum and the Nordic Museum in Sweden. 

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.