LANDSCAPES

Gustaf Fjaestad (Fjæstad) (1868-1948) Sweden

Study of Tufts

signed "G. A. Fjaestad," both recto and verso.
oil on artist's sketching board (Wilhelm Becker, Stockholm)
unframed 32.7 x 44.7 cm (12.9 x 17.6 inches)
framed 42 x 54 cm (16.5 x 21.3 inches)

Provenance:
Bukowskis, Stockholm, 4 November 1986, No. 47, under the title "Tuvor i ett kärr" 

Authenticated Documentation:
On the reverse, an inscription recounts that the work was shown to Fjaestad himself in June 1945 at Arvika Stadshotell. In the presence of witnesses, including caretaker Bergh and porter Gustaf Bergqvist, Fjaestad acknowledged the piece as his own, a certification provided by Bergqvist.

Condition: 
The painting is in excellent condition, having recently undergone meticulous restoration by a professional art conservator in Stockholm. It is presented in a newly crafted frame, which is included in the purchase.

Exhibited: 
Rackstadmuseet, Arvika, Sweden

Literature:
A. Fjæstad Nordmark, Fjæstads konst, 1999, under undated works, p. 377 "Tuvor vid ett skär (Tufts on a skerry)"

Essay:
This remarkable study by Gustaf Fjaestad captures the intricate textures and tonal subtleties of natural tufts in their environment. Fjaestad, best known for his evocative winter landscapes and meticulous attention to detail, showcases here his ability to infuse even modest subjects with vibrancy and depth. The play of light and shadow on the tufts conveys an intimate connection to nature, reflective of the artist’s broader oeuvre.

Comparison and Context:
The subject of "Study of Tufts" aligns with Fjaestad’s fascination with the natural world, often explored during his years in Värmland after moving there in 1897. This piece invites comparisons to a photograph of frozen tufts by Bruno Liljefors, Fjaestad’s contemporary and collaborator on the diorama in Stockholm’s Biological Museum. Their shared focus on nature's beauty forged a professional and personal friendship that influenced both artists' works.

Bruno Liljefors photograph of frozen tufts (Uppsala Konstmuseum inv. KM00898292)

While Fjaestad is celebrated for his snowy landscapes, his versatility extended to furniture design, ceramics, and textile patterns, as demonstrated by the woven tapestries created with his wife, Maja, and his sisters at their Racken home studio. His works remain central to Swedish National Romanticism and are featured prominently in collections such as the Thielska Galleriet in Stockholm.

The present work, described alternatively as "Tufts in a Marsh" and "Tufts on a Skerry," likely reflects scenes from either the marshlands of Värmland or the Stockholm archipelago, regions Fjaestad frequented and depicted with profound sensitivity.

Anders Gustaf Hedenskog, Arvika, 11 September 1934. Photo taken on the occassion of the 30th anniversary of Arvika Ancient Monument Society

Interiors from A G Hedenskog’s home at Hantverksgatan, Arvika. 11 September 1934:

Olof Arborelius (1842–1915) Sweden

Farmstead in Dalarna, 1864

signed with monogram OA and dated “Arb-s 64” inscribed into the wet paint, with the estate’s stamp "OA" on the back.
oil on paper mounted on board
unframed 22.5 x 41.5 cm (8.9 x 16.3 inches)
framed 29.5 x 49 cm (11.6 x 19.3 inches)

Provenance:
Artist’s estate; Erik Thorwald Arborelius (1883–1974), the artist’s son; Mrs. Karin Dahlbom, Stockholm; A private collection. 

Condition:
Very good, recently restored by professional art conservator in Stockholm. 

Exhibited:
Nationalmuseum, Stockholm, Olof Arborelius Memorial Exhibition, February 10–March 10, 1943, catalog number 141, exhibited as Farmstead in Dalarna (22 x 37 cm), lent by Mrs. Karin Dahlbom.

Essay:
This oil study was painted en plein air, a technique evident from the pinholes in all four corners of the paper, indicating that it was likely painted outdoor. The composition captures a quintessential Dalarna landscape, with a traditional farmstead surrounded by open fields and distant forested hills. The soft, atmospheric rendering of light and shadow demonstrates Arborelius’ masterful ability to portray the mood and essence of the Scandinavian countryside.

The painting dates to 1864, a period when Arborelius regularly embarked on summer journeys through northern Dalarna, producing numerous oil sketches directly from nature. During this time, he ventured into the remote regions of Särna, where he documented his impressions of the landscape, the local architecture, and the lives of the inhabitants. These sketches served as a foundation for many of his larger works, which often depicted scenes that were unfamiliar and exotic to the wider Swedish public.

About the Artist
Olof Arborelius studied at the Royal Academy of Fine Arts in Stockholm between 1860 and 1865. His artistic development was significantly influenced by Johan Fredrik Höckert, who introduced him to plein air techniques during a stay at the Arborelius family’s parsonage in Orsa in 1858. Encouraged by this mentorship and inspired by artists like Per Daniel Holm, Arborelius began his exploratory painting trips into the Swedish countryside, creating works that celebrated the untouched beauty of Dalarna and the surrounding areas.

Throughout his career, Arborelius’ oil studies were distinguished by their intimate scale and impressionistic treatment of light and atmosphere. Later in life, he spent time in Italy (1870–1872), where his plein air technique reached new heights, earning praise for his sensitive use of color and nuanced depictions of Mediterranean light.

Dalarna remained a central theme in Arborelius’ work, with its rustic charm and majestic landscapes becoming a recurring source of inspiration. His art not only celebrated the natural beauty of this region but also played a vital role in popularizing its unique cultural heritage in the 19th century.

Per Daniel Holm (Malingsbo, Dalarna 1835–1903 Stockholm) Attributed to. 

Landscape from Kvikkjokk, c. 1861

oil on board
unframed 39 x 56 cm (15.4 x 22 inches)
framed 46.5 x 63 cm (18.3 x 24.8 inches)

Condition:
Very good condition, recently restored by professional art conservator in Stockholm. 

Essay:
This exquisite landscape by Per Daniel Holm captures the serene beauty of Kvikkjokk, a remote area in Lapland, Sweden. Holm created the piece following his participation in a scientific expedition to Lapland from July to September 1861, led by Carl Anton Petterson, inspector of the kingdom's navigation schools and a member of the Academy of Military Sciences. The purpose of the expedition was to gather geographical data and make precise location and height determinations for the creation of a comprehensive economic map, as the knowledge of Lapland's interior was, at the time, incomplete and often inaccurate.

Kvikkjokk and the neighboring settlement Kammjokk served as the expedition’s destination—regions scarcely populated in the 19th century. Holm, an exceptionally skilled draftsman and painter, documented the journey with studies in pencil, watercolor, and oil. On his return to Stockholm, these studies became the basis for a series of remarkable works that captured the essence of Lapland's rugged and untouched nature.

Among these works, Holm’s most famous painting, “Saggat-träsk Kvikkjokk” (1861, Nationalmuseum, Stockholm), stands as a testament to his ability to evoke the sublime grandeur of the northern wilderness. The present work, Landscape from Kvikkjokk, was similarly conceived from sketches made during this expedition, reflecting Holm's unique ability to blend scientific precision with artistic expression.

Adding to the significance of this painting is its connection to Axel Wilhelm Nordgren (1828–1888), who created a copy of the work, underscoring its importance and influence in the artistic circles of the time. Holm’s original compositions from Lapland were later exhibited and sold at the Konstnärshuset in Stockholm in November 1903, in a retrospective that celebrated his contributions to Swedish art.

Elias Erdtman (Sweden, 1863–1945)

Moonlit Reflections, Heyst-sur-Mer

oil on canvas laid on board
signed E. Erdman och daterad -84
unframed: 29 x 18.5 cm (11.4 x 7.3 inches)
framed: 38 x 28 cm (15 x 11 inches)

Exhibitions: 
Galerie Moderne, Stockholm, "Elias Erdtman," October 22 – November 5, 1942.

Provenance: 
A Swedish private collection. 

Essay:
This atmospheric plein air study, likely painted during the summer of 1884 in Heyst-sur-Mer, showcases Elias Erdtman’s delicate touch as a landscape painter. Set against the backdrop of a serene Belgian coastal scene, the composition features the soft glow of the moonlight reflecting off tranquil waters, framed by the silhouette of darkened trees. This period marked Erdtman’s exploration of outdoor painting while staying in this popular seaside resort near the Dutch border.

The painting reflects the artist's dedication to capturing fleeting moments of natural beauty, a theme that would recur throughout his career. During this time, Erdtman was studying in Düsseldorf and often traveled to enrich his artistic practice. Works from his time in Heyst-sur-Mer, including three sketchbook pages now housed at the Nationalmuseum in Stockholm (NM 70-73/1961), reveal his sensitivity to light and atmosphere.

This painting was exhibited at Galerie Moderne in Stockholm in 1942 as part of a broader display of Erdtman’s work. Among the highlights were several paintings from Heyst-sur-Mer, which were praised by the art historian Folke Holmér in Ord och Bild (1943). Holmér described these works as "some of the most exquisite in the exhibition," noting their poetic quality and testifying to Erdtman’s reputation as a "refined and noble landscape painter."

John Charles Robert Johansson, Called YO Johanson (1897-1963)

Sunset, 1920

oil on wood panel
signed and dated 
unframed 35 x 26.5 cm
framed 40 x 31.5 cm 

Essay:
This serene painting by Swedish artist Yo Johanson (born John Charles Robert Johansson) captures the tranquil beauty of a sunset in 1920. Softly rendered brushstrokes depict the gentle reflection of sunlight across a calm body of water, with the vibrant glow of the setting sun casting warm hues over the rocky foreground. The clouds above add a touch of drama, blending seamlessly into the horizon as day fades into night.

Born on October 2, 1897, in Paris, Johanson was the son of Arvid Claes William Johanson and Charlotte Louise Caroline Lucas. He pursued his artistic studies under the guidance of Carl Wilhelmson and Maurice Denis in Paris, shaping his style and influences. Johanson exhibited his work in several notable exhibitions, including a solo show at Continental Motor in Malmö in 1949 and participated in various group exhibitions in Gothenburg. His art often reflects scenes inspired by his time in France, capturing its landscapes and light in a distinctive, atmospheric style.

Georg Stoopendaal (1866-1953) Sweden

Christmas Sheaf With Birds

oil on canvas
signed G.Stoopendaal
unframed: 60.5 x 38.5 cm (23.8 x 15.2 inches)
framed: 76 x 54 cm (29.9 x 21.3 inches)

Essay:
This painting, created by the Swedish artist Georg Stoopendaal (1866–1953), captures a cherished Nordic tradition: a "julkärve" or Christmas sheaf. The sheaf, made of grain and hung outdoors, serves as a festive offering to birds during the cold winter months. This practice symbolizes generosity and respect for nature, inviting various bird species to gather and feast.

In this delightful scene, Stoopendaal depicts several recognizable birds of the Swedish winter landscape. Among them are the European Robin (Erithacus rubecula), with its bright red breast; the Blue Tit (Cyanistes caeruleus), adorned in blue and yellow; the larger Great Tit (Parus major), with its distinctive black cap; the House Sparrow (Passer domesticus), a common bird with brown and gray plumage; the Bullfinch (Pyrrhula pyrrhula), notable for its vibrant red belly; and the Yellowhammer (Emberiza citrinella), with its yellow head and chest.

Georg Stoopendaal was a self-taught artist, primarily known for his landscapes and still lifes. He was born in Jönköping, Sweden, and later settled in Hindås with his family. His works were widely published, including in the Ny illustrerad tidning and in the United States from 1893 to 1898. His art is represented in Sweden’s prestigious collections, such as the Nationalmuseum and the Gothenburg Museum of Art.

Christmas card by Georg Stoopendaal.

A prolific illustrator, Stoopendaal also illustrated several books and spent time in America, where he documented Native American cultures. His most sought-after paintings often feature working horses, reflecting his eye for detail and deep connection to rural life. He belonged to a notable family of artists—his wife, Anna, and brother Ferdinand were also painters, and Jenny Nyström, a beloved Swedish illustrator, was married to his brother Daniel.

Stoopendaal’s legacy continued through his son, Wilhelm, known as Mosse Stoopendaal, who became a renowned nature painter and was influenced by his father's work from an early age. This painting is a fine example of Stoopendaal's skill in capturing the harmony between human traditions and nature's beauty.

Hilding Werner (1880-1944) Sweden

Aurora Borealis
Swedish original title: Norrsken

oil on canvas
signed H.Werner
unframed 52.5 x 68.5 cm
framed 68 x 84 cm

Provenance: 
Sothebys London, 15 mar 1989, "Aurora Borealis", lot 214;
A private collection Arvika, Sweden.

Condition: 
Very good condition, the surface is recently cleaned.
New gold frame included. 

Comparable Sales: 

Sothebys New York, 22 May 2024, lot 17, Final price 31.200 USD. 

Essay:
We are pleased to present this exquisite painting, titled Aurora Borealis (originally titled Norrsken by the artist), created by the Swedish painter Hilding Werner. In this captivating winter scene, Werner masterfully captures the serene beauty of a snowy landscape illuminated by the soft, ethereal glow of the northern lights. The delicate blue and white hues evoke the quiet majesty of a Scandinavian winter night, transporting the viewer to a world of tranquility and wonder.

Hilding Werner (1880–1944) was a talented Swedish painter and illustrator, born in Kårud, Värmland. He studied at Caleb Althin's painting school in Stockholm and supported himself with caricatures in Nya Nisse. His friendship with Bror Lindh led to his enrollment in the Artists' Association’s painting school, where he studied under the mentorship of prominent artists like Richard Bergh. In 1905, he embarked on a study trip to the Netherlands, after which he settled in Stömne, Värmland, establishing a studio in Hammartjärnet.

Werner was a member of the artist collective De Frie and participated in exhibitions with the Värmland Art Association, as well as in Norrköping, Lund, and Arvika. Although he did not hold a solo exhibition in his lifetime, his work was honored in a commemorative exhibition at the Värmland Museum in 1946. A major influence on his art was his interaction with Gustaf Fjæstad, whose romantic and realistic landscapes deeply inspired him. A 1912 boat trip with Fjæstad and Bror Lindh to visit Otto Hesselbom in Säffle profoundly impacted Werner's artistic direction.

Oskar Bergman (1879-1963) Sweden

Landscape with Trees

oil painting on masonite 
signed Oskar Bergman
unframed 20.5 x 30 cm
framed 30 x 39 cm

Provenance: 
A Swedish private collection. 

Essay:
This atmospheric oil painting by Oskar Bergman, created around 1930-1940, captures a serene moment in nature. Soft, muted tones blend with intricate brushwork, depicting a dense cluster of trees against a gentle, pastel-toned sky. The foliage, rendered with meticulous detail, seems to sway with a quiet rhythm, immersing the viewer in a peaceful woodland scene. The depth and subtle play of light evoke a tranquil, timeless quality, showcasing Bergman's mastery in capturing the essence of the Swedish landscape.

About the Artist: Oskar Bergman (October 18, 1879 - July 20, 1963) was a celebrated Swedish painter and graphic artist known for his finely detailed portrayals of the Scandinavian landscape. Although largely self-taught, Bergman developed a distinctive style that combines realism with an almost poetic sensitivity to nature's subtleties. He primarily worked in watercolor and gouache, favoring these mediums for their ability to convey delicate nuances in light and color. Bergman's works are part of esteemed collections, including Musée d'Orsay Paris, Sweden’s Nationalmuseum, Thielska Galleriet, Norrköping Konstmuseum and Malmö Museum.

Reino Partanen (1889-1972) Finland 

Birch Trees and Snow-Laden Spruces, 1927

oil on canvas
signed and dated 
unframed: 126 x 86 cm (49.6 x 33.9 inches)
framed: 141 x 101 cm (55.5 x 39.8 inches)

Provenance: 
A Swedish private collection. 

Essay:
We are pleased to offer an exquisite painting by Finnish artist Reino Partanen (1889–1972), titled Birch Trees and Snow-Laden Spruces. Created in 1927, this impressive work measures 126 x 86 cm, capturing a serene yet dynamic winter forest scene dominated by birch trees standing amidst snow-laden spruces. Partanen’s style here, while rooted in his admiration for Ilya Repin, also reflects influences from Akseli Gallen-Kallela, showcasing his distinctive approach to capturing the Finnish landscape.

Reino Partanen, born Aleksander Reinhold Partanen in Helsinki, began his formal art education after completing secondary school. He studied at the Imperial Academy of Arts in Saint Petersburg, where he was influenced by Repin, and continued his studies at the Central School of Applied Arts in 1905-1907. Partanen’s passion for art took him abroad, with studies in Paris and Antwerp. His debut exhibition in Helsinki in 1911 marked the beginning of a prolific career. Throughout the early 20th century, he exhibited frequently in Finland, with notable displays at the Finnish Artists’ exhibitions in 1911, 1912, 1913, 1914, and 1921.

Partanen's works were also celebrated internationally. In 1919, he exhibited in Copenhagen, and in 1923, he held a solo show in Rotterdam, where he received positive reviews from local critics. Later, in 1935, he exhibited in Berlin, Düsseldorf, and Hamburg, further cementing his reputation as a respected artist.

Beyond his landscapes, Partanen painted portraits and cityscapes during his time in Viipuri, including a series featuring the iconic Pyöreä tower. His work can be found in prestigious collections, including the Ateneum Art Museum and museums in Hämeenlinna and Tampere.

Despite professional successes, Partanen faced personal challenges. In the 1930s, a fire at his family estate in Käpylä led to financial difficulties, forcing the sale of their belongings. After World War II, Partanen settled in the Puistola neighborhood of Helsinki. He was married to writer Dagmar Helena Åkerlund, and the couple is buried at Malmi Cemetery.

This painting, Birch Trees and Snow-Laden Spruces, exemplifies Partanen’s ability to translate his deep connection with nature into a beautifully composed winter scene.

Elisabeth Keyser (1851-1898) Sweden

View from Visby, Gotland, c. 1883

oil on wood panel
signed EKeyser
unframed: 10 x 21 cm (3.9 x 8.3 inches)
framed: 20 x 30.5 cm (7.9 x 12 inches)

Provenance: 
A Swedish private collection. 

Condition: 
The painting has just been restored by a professional art conservator in Stockholm. Its colors, which had become dull and dirty over time, have been revived, and the yellowed varnish has been removed. The painting is now in a much better condition. Included, is a handcrafted gold oak frame from Stockholms Förgyllning och Bildhuggeri, one of Europe's finest frame makers.



ESSAY:
This painting by Elisabeth Keyser beautifully captures a scenic view from the northern city wall of Visby, near Lübeckerbräschen. The landscape showcases a stretch of coastline leading up to the impressive medieval walls. Prominently featured are two of Visby's historic towers: the larger Silverhättan and the smaller Jungfrutornet. 

In the background, a serene pinkish sky blends with the sea, while a small sailing boat gracefully traverses the water. The soft, spontaneous brushstrokes used by Keyser give this piece a lively and immediate feel, encapsulating the charm and history of Visby's coastal landscape. 

About Elisabeth Keyser:

Elisabeth Keyser (1851–1898) was a distinguished Swedish painter who studied at the Royal Swedish Academy of Fine Arts in Stockholm before furthering her education in Paris under Léon Bonnat. Keyser exhibited her work at prestigious venues such as the Paris Salon and the World's Columbian Exposition in Chicago. Today, her works are part of collections at the Nationalmuseum, Göteborgs konstmuseum, and Lund University Art Museum.

About the Towers:

Silverhättan: This corner tower in the northwest section of the city wall gets its name from its previously silver-glowing roof, likely made of lead. Built in the 1400s by the Teutonic Order, Silverhättan was part of the wall's later fortifications. (Image source mittvisby.se)
 

 
Jungfrutornet: Situated between Silverhättan and Murfallet, Jungfrutornet is enveloped in legend. It was built in the 1400s and is associated with tales of betrayal and mystery, giving it a unique place in Visby's history. (Image source mittvisby.se)

Visby and its City Wall:

Visby's city wall, a World Heritage Site, is one of the most well-preserved medieval city walls in Northern Europe. Its rich history and the various towers, like Silverhättan and Jungfrutornet, contribute to the historical and cultural significance of this town on the island of Gotland.

The same view today.



Drawing from the 1800s, attributed to Pehr Arvid Säve.

Fritz Lindström (1874-1962) Sweden

An Autumn Evening Study, 1901
(En höstkvällstudie, 1901)

oil on canvas mounted on board
signed and dated 1901. Fritz Lindström
unframed c. 26.5 x 32 (unframed c. 26.5 x 32)
framed 35.5 x 41 cm (unframed c. 26.5 x 32)

Condition: 
The painting has recently been restored by a professional art conservator. It is now in a very good condition, with significantly clearer colors and improved contrasts. It comes with a handcrafted frame from Stockholms Förgyllning och Bildhuggeri, one of Europe's leading frame makers.

Provenance:
Architect Ludvig Mattsson (1888-1960) Arvika, thence in descent until 2024.

Essay:

This landscape painting by Swedish artist Fritz Lindström captures the tranquility of the Stockholm archipelago. "An Autumn Evening Study, 1901" is a stunning portrayal of a rural scene at dusk. The painting's delicate pink and purple sky envelops the landscape in a soft glow, hinting at the transition from day to night. In the middle ground, a farmer with his horse can be seen plowing a field, adding a narrative element to this peaceful scene. This work is one of several paintings Lindström created during this period, following his time in France and prior to joining the Rackstad group in 1903.

Biography

Fritz Lindström started his artistic journey as an apprentice in decorative painting under Carl Grabow, where he met fellow artist Björn Ahlgrensson. He later studied at the Artists' Association School in Stockholm with Richard Bergh (1892–1894 and 1895–1896) and at Valand Art School in Gothenburg under Carl Larsson (1894–1895). His studies continued in Copenhagen and Paris from 1897 to 1899.

In 1900, Lindström returned to Sweden, drawn to Värmland by his friend and brother-in-law Björn Ahlgrensson. From 1903 onwards, he became part of the Rackstad group—a community of artists who saw the countryside as an ideal setting for artistic and spiritual work. This belief resonated with Lindström, and he remained dedicated to this lifestyle for over fifty years, living and working by Lake Racken.

Lindström's early artistic focus was on the challenging art of human studies, which piqued his interest. Despite financial struggles and difficulty selling his paintings, he gained recognition mainly for his portraits, known for their well-constructed composition and deep psychological insight. Portrait painting became crucial for his financial stability. Interest in his landscape paintings grew when the director of the National Museum happened upon his landscapes during an exhibition opening in Arvika. His color palette was often bold, with touches of red. He is primarily remembered as a landscape and portrait painter.

Harald Gallén (1880-1931) Finland

Lappland at Dusk, Finland
The artist original title: "Skymning i Lappland"

signed Harald Gallen and dated 1915 Kuolajärvi
oil on board
unframed c. 33 x 25 cm (approx. 13 x 10 inches)
framed 43 x 34 cm (approx. 17 x 13 inches)

Provenance: 
Gift from the artist to Aarne Bygglin 1919, Tammerfors.

Essay:
This painting is characterized by a cool, turquoise sky that contrasts against snow-covered hills and trees. The artist Harald Gallén has painted the snow in flowing, almost sculptural forms, creating a dynamic rhythm in the foreground. The snow-laden trees appear surreal, and the heavy application of paint gives the impression of depth and texture. The turquoise sky reflects Gallén’s fascination with the light in the north region, while the abstracted forms of the snow are reminiscent of Japanese influences, which the artist is known to have drawn from following his time in Japan a year before this painting was completed.

Harald Gallén and two rickshaw pullers on their way to Miyanoshita in Japan.
(Source: the book With Camera and Trunk, published by the Society of Swedish Literature in Finland)

"Harald the Dandy"
Harald Gallén was an artist, diplomat, and cosmopolitan. Gallén was also openly homosexual at a time when such openness was illegal in most countries. Gallén’s life reflected both artistic brilliance and a flamboyant persona, often described as a "dandy"—a term that originated in 18th-century London and Paris, used for a man of middle-class origin who aspired to appear aristocratic through exaggerated elegance in dress and behavior.

Gallén, much like a dandy, was known for his extravagance and his fascination with heraldry, nobility, and medals. His art, as exemplified by "Skymning i Lappland, 1915" carries a subtle yet bold beauty, mirroring his personal defiance of societal norms. While he drew some inspiration from his famous uncle Akseli Gallen-Kallela, Gallén developed his own unique style, which can be seen in the almost mystical treatment of light and landscape in this painting. His use of the turquoise sky hints at an influence of Japanese aesthetics, likely inspired by his time spent in Japan just a year before creating this piece.

Harald Gallén in his studio in 1912, with another painting in the background featuring the same mountain as in our painting "Skymning I Lappland, 1915". (Source: The Finnish Forest Museum)

Gallén’s Legacy and Queer History:
Harald Gallén’s life was filled with travel and artistic exploration, but his diaries also reveal the struggles and triumphs of being a homosexual man in the early 20th century, when it was illegal in most places. His openness about his sexuality, as captured in his diaries, letters, and art, offers a rare and bold perspective for the time. Today, his work and his personal history offer a window into queer history, a narrative often missing from mainstream art history.

Harald Gallén and an unidentified man in the Imperial Park at the Summer Palace in Beijing. (Source: the book With Camera and Trunk, published by the Society of Swedish Literature in Finland)

Gallén exhibited frequently during his lifetime, but his works fell into relative obscurity following his death in 1931. However, his personal papers, archived in Finland, suggest that he had hoped to publish a memoir detailing his life as a gay man in a repressive era. Gallén's work, much like his personal life, is a testament to his refusal to conform, making him an intriguing figure not only in art history but also in the queer history.

With "Skymning I Lappland, 1915" we are not only looking at a representation of Lapland’s landscape but also at the traces of an artist who sought to capture the beauty of the world while asserting his identity in the face of societal constraints.

Literature: 
Rita Paqvalén, Queera minnen: Essäer om tystnad, längtan och motstånd.
Källan, Svenska litteratursällskapet i Finland, no 1/2021.

Olof Arborelius (1842-1915) Sweden

Ruins of Ancient Rome, c. 1870-72

Oil on paper mounted on cardboard
signed with monogram OA
unframed 15.5 x 24 (15.5 x 24 inches)
framed 24 x 33 (24 x 33 inches)

Provenance:
The artist's estate;  
Erik Thorwald Arborelius (1883-1974), the artist's son

Condition: 
The painting has recently been restored by a professional art conservator. The colors are now significantly brighter and sharper, much like when the artist originally created the work. The frame is newly made and is included in the price.

Essay:
This beautiful oil sketch, painted en plein air, was created by Swedish artist Olof Arborelius during his stay in Italy from the fall of 1870 until January 1872. The painting features a charming depiction of ancient Roman ruins—either a city wall or an aqueduct—surrounded by lush trees under the clear Italian sky. With loose brushstrokes and a soft, atmospheric touch, the artist captures the natural light and Mediterranean ambiance, demonstrating his profound understanding of plein air painting.

Arborelius was heavily influenced by French artistic trends of the time, particularly in his color sensitivity and study of light and air. His time in Italy was critical for his artistic development, marking the height of his mastery in capturing the delicate interplay of light, color, and atmosphere.

Several of Arborelius’ Italian oil studies, including similar small-format plein air works, were later exhibited at various prestigious exhibitions. These include the Svenska konstnärernas förening memorial exhibition in 1910, the Svensk-Franska Konstgalleriet in Stockholm in 1931, and a memorial exhibition at the Nationalmuseum in 1943. 

Viggo Loos praised Arborelius' Italian studies for their "sensitivity to color" and "intense exploration of light and atmosphere," highlighting these works as a high point in the artist's career. Loos emphasized how Arborelius skillfully captured the essence of the Mediterranean landscape, using vibrant tones and delicate brushwork to convey the interplay of light and air.

Moreover, Folke Holmér, the curator of Arborelius’ 1943 memorial exhibition, described his Italian sketches as some of the most painterly pieces of his early production, worthy of comparison with the best works Swedish artists had produced in Italy.

Among his notable works in major collections are three of his Italian oil studies held at the Nationalmuseum: View from Rome Towards the Arch of Septimius Severus (NM 1930), The Interior of the Colosseum (NM 1931), and Italian Landscape (NM 1932). All were purchased in 1916 from the artist’s estate after his death.

Ture Ander (1881-1959) Sweden

The Tree by the Lake, Värmland

oil on canvas
signed and dated 
unframed 69 x 64 cm (27.17 x 25.2 inches)

Provenance: 
A private collection, Karlstad, Sweden. 

Essay:
This painting by Ture Ander, created in 1917, depicts a serene landscape from Värmland, Sweden. At the center of the composition is a large tree, likely a deciduous species, as suggested by the hints of autumn seen in both the tree and the meadow below it. The short brushstrokes used to depict the leaves and grass evoke a sense of movement and texture, typical of the early 20th-century artistic style. Another beautiful detail is the bluish-tinted forested mountains in the background, creating a sense of depth and tranquility.

Ture Ander played a significant role in the Racken group (Rackstadkolonin), an important artistic collective in Sweden at the time. Ander was born on September 17 in Askers socken, Örebro. At the age of 13, he became an apprentice painter in Stockholm, attending evening classes at the Technical School (now known as Konstfack) while working during the day. He earned his journeyman’s certificate in 1902, and the following year, he graduated from the Technical School with the highest honors in painting. In 1905, he was accepted into the Konstnärsförbundets skola (School of the Artists' Association), where he studied alongside notable artists like Leander Engström, Isaac Grünewald, and Einar Nerman.

In 1909, Ture Ander participated in the renowned "De Unga" exhibition. He furthered his studies in Paris at the Académie Colarossi from 1911 to 1912, where he was deeply inspired by Cézanne. His time in Paris influenced his painting style and introduced new artistic techniques into his work.

Ture Ander married Ragnhild Franzén, who had trained with the Fjæstad sisters, prominent figures in Swedish arts and crafts. After a few years, the couple moved to Orrhöjda by Lake Racken, where they led a modest life. Ragnhild gathered berries and mushrooms, while Ture hunted and fished to support their family. The later years of Ture's life were marked by sorrow. Ragnhild passed away after a prolonged illness, a loss that deeply affected Ture and is reflected in the somber tone of his later works.

Severin Nilson (1846-1918) Sweden

Sunset, c. 1875

oil on wood panel
c.1875
signed Severin Nilson
unframed 14 x 19.7 cm (5.51 x 7.76 inches)
framed 24 x 29.5 cm (9.45 x 11.61 inches)
hand made oak frame by Stockholms Förgyllning och Bildhuggeri.

Condition:
The painting has been recently restored by our conservator and is now in a very good condition, with only a few minor retouches. The frame is newly handcrafted by one of Europe's most skilled frame makers Christer Björkman. 

Essay:
This painting, most likely created during Severin Nilson’s time in Paris, carries a strong influence from the impressionist movement that surrounded him during his studies under Léon Bonnat. Nilson arrived in Paris in 1873, a pivotal moment in the art world. That same year, Claude Monet painted his iconic Impression, Sunrise, and Camille Pissarro completed his serene work Sunset in 1872. Both paintings, focusing on the natural light and atmosphere of the sky at different times of the day, exemplified the impressionist fascination with capturing fleeting moments, often in the form of sunsets and sunrises.


Left: Claude Monet "Impression, Sunrise" 1873 (Musée Marmottan Monet, Paris)
Right: Camille Pissarro "Sunset" 1872 (A private collection) 

In this painting, Nilson embraces a similar theme. The vivid depiction of the sun glowing in a hazy sky with the sea gently reflecting the soft colors speaks to a fascination with the subtleties of light, color, and movement. It’s easy to imagine how the impressionist techniques pioneered by Monet and Pissarro would have captivated Nilson, who, at the time, was deep in the midst of Paris’s vibrant art scene.

The layered, almost textured brushstrokes in the painting suggest a departure from strict realism, leaning instead toward the impressionist philosophy of conveying the essence of a scene rather than meticulously recreating every detail. This work reflects Nilson’s desire to explore the interplay between natural light and color, a hallmark of impressionist innovation.

Severin Nilson, who became known for his genre scenes and landscapes, was a prolific artist whose legacy includes a broad range of works, now housed in prominent institutions like the Nationalmuseum and Kalmar Konstmuseum. His time in Paris undoubtedly shaped his artistic vision, and this painting offers a glimpse into his appreciation for impressionism’s revolutionary approach to capturing the world.

Nils Kreuger (1858-1930) Sweden

Landscape View from Öland, Sweden

oil on canvas
c. 1905
unframed 34 x 27 cm = 13.39 x 10.63 inches 
framed 44 x 37 cm = 17.32 x 14.57 inches

Provenance: 
Fritzes Kungliga Hovbokhandel, Stockholm.

Condition:
The painting has just been restored by our conservator. The colors are now brighter, and the old dirt is removed from the surface. The frame is newly handcrafted by Stockholms Förgyllning and Bildhuggeri, and it is included in the price.

Essay:
We are pleased to offer for sale an exquisite landscape by the Swedish artist, Nils Kreuger (1858–1930), titled "Landscape View from Öland, Sweden" executed around 1905. This work is a remarkable example of Kreuger's unique ability to capture the serene beauty of Swedish landscapes, specifically the island of Öland, where he frequently spent his summers.

In this piece, Kreuger showcases his refined brushwork and his preference for natural scenes at dawn or dusk, as seen in the delicate play of light and shadow. The artist's subtle use of color, particularly his soft greens, earthy browns, and touches of blue, creates a peaceful atmosphere. It reflects his stylistic transition in the early 1900s, where his palette became lighter, and he incorporated small dots in his work, hinting at his exposure to Impressionist influences such as Van Gogh and Gauguin.

This painting is part of Kreuger’s mature period when he began to simplify forms, focusing on the essence of the landscape rather than fine detail, a hallmark of the Varbergsskolan style that he co-founded with Richard Bergh and Karl Nordström. The brushstrokes here suggest movement in the sky, a characteristic element of Kreuger's works, symbolizing the ever-changing nature of the Swedish countryside.

Kreuger’s works can be found in prestigious institutions such as the Nationalmuseum in Stockholm and Prins Eugens Waldemarsudde, making this piece a valuable acquisition for collectors of Scandinavian art.

Carl Johansson (1863-1944) Sweden

Landscape View, 1927 (Most likely from Nordingrå)

oil on wood panel
signed and dated Carl Johansson 27
unframed 38 x 54
framed 54 x 70 cm

Condition:
This painting has been restored by our art conservator in Stockholm in 2024 and is in exceptionally fine condition. The wooden panel is flat and intact, showing no signs of warping or damage. The frame is newly crafted in 2024 and is included in the price. Overall, the artwork presents beautifully and is ready for display.

Essay:
Carl Johansson's painting from 1927, most likely depicting a view from Nordingrå, encapsulates the serene beauty of the northern Swedish landscape. Born in Härnösand, Johansson drew much of his inspiration from the vast and peaceful sceneries of Norrland. The artwork showcases his skill in capturing the natural light and atmosphere, a hallmark of his work. His technique involves soft, sweeping brushstrokes and a delicate palette that highlights the tranquil greenery and expansive water views typical of the Norrland region.

Johansson was a versatile artist, having also painted landscapes from places like France, Tenerife, and Italy. However, his heart often returned to Norrland, earning him the nickname "The Painter of Norrland." The sunlight in his paintings is almost always positioned at a 30-degree angle from the north-northwest, giving a consistent sense of time and place in his works.

His artistic potential was first noticed by Conny Burman, his drawing teacher at Klara elementary school, and he was later mentored by Edvard Perséus during his high school years. He began formal art training at the Royal Swedish Academy of Fine Arts in 1882, under the guidance of Perséus and Per Daniel Holm. In 1885, he joined the group of artists known as the "Opponents," which led to his departure from the Academy. This group sought to challenge the established norms in Swedish art.

Johansson’s works are appreciated for their gentle realism and deep connection to the landscapes of northern Sweden. His pieces are part of several esteemed collections, including those at the Nationalmuseum in Stockholm, Kalmar Art Museum, and the municipal collection of Hudiksvall.

Anders Wahlgren (1861-1928) Sweden

Sunset over the Bohuslän Coast

oil on board
signed A.Wahlgren
unframed 35 x 50.5 cm (13.78 x 19.88 inches)
framed 45.5 x 62.5 cm (17.91 x 24.61 inches)

Essay: 
This painting by Anders Wahlgren, a Swedish painter, depicts a serene coastal landscape at sunset, likely set in the Bohuslän region of Sweden. The image is bathed in the warm, glowing hues of the setting sun, reflecting off the calm waters. A lone seagull perches on a rock in the bottom right corner, adding a subtle touch of life to the tranquil scene.

Anders Nils Henrik Wahlgren, born on February 15, 1861, in Lund, Sweden, was not only a skilled artist but also a forest science researcher. His artistic journey began early in his life, studying under the guidance of academic drawing master Axel Hjalmar Lindqvist in Lund. Later, during his time at the Forest Institute, he received artistic training from Anders Kallenberg. His travels for forestry studies led him to take a significant break in 1891, where he studied art in Brittany and Paris, particularly within a circle of Swedish painters and at a Scandinavian art school led by Richard Hall. Wahlgren's art was deeply influenced by his friendship with and mentorship under the renowned artist Bruno Liljefors.

Despite his primary career in forestry, Wahlgren's artistic output was considerable, focusing mainly on forest landscapes, often featuring flying birds, reminiscent of Liljefors' style. His works have been exhibited in numerous art exhibitions organized by the Swedish Artists' Association in Stockholm, Malmö, and Gothenburg, among others. He even held a solo exhibition in Malmö in 1914. Wahlgren's artistic legacy is preserved in several collections, including the Kalmar Art Museum.

Oskar Bergman (1879-1963) Sweden

A Miniature Landscape With Birch Trees

watercolor on paper
signed Oskar Bergman 
unframed c. 5.5 x 4 cm
framed 15.5 x 13.5 cm

Provenance: 
A Swedish private collection. 

Essay:
This exquisite miniature watercolor by Oskar Bergman, measuring just 5.5 x 4 cm, beautifully captures the essence of a serene Swedish landscape. In this scene, slender birch trees, with their white bark and delicate branches, stand gracefully against a deep blue sky. In the background, the landscape unfolds gently, with a glimmering body of water reflecting the tranquility of the scene, and blue-tinged mountains softly fading into the distance. The foreground is dotted with wildflowers, adding a touch of color and life to the composition.

Oskar Bergman, born on October 18, 1879, in Stockholm, was a highly regarded Swedish painter and graphic artist known for his detailed and realistic depictions of the central Swedish landscape. Despite being self-taught, Bergman developed a distinctive style, particularly in watercolor and gouache, which allowed him to render the subtleties of nature with great precision and sensitivity. Throughout his career, he made numerous study trips across Europe, which enriched his artistic expression and broadened his perspective.

Bergman's works are held in high esteem and are represented in several prestigious institutions, including the Nationalmuseum, the Thiel Gallery, and the Norrköping Art Museum. He lived for many years near Neglinge Gård in Saltsjöbaden, where he eventually passed away on July 20, 1963. 

Georg Stoopendaal (1866-1953) Sweden

Coastal Landscape with Dramatic Clouds

oil on canvas laid on board
authenticated on the back by Sixten Strömbom
unframed 14 x 18.5 cm (5.5 x 7.3 inches)
framed 26 x 31 cm (10.2 x 12.2 inches)

Condition: 
Condition: After several months with our conservator, who has cleaned the painting, transferred it to another board, and retouched some areas where the paint had flaked off and today we are impressed with the outcome after the restoration.

Essay:

We are pleased to offer a captivating small oil painting by the Swedish artist Georg Stoopendaal. Despite its modest dimensions of 14 x 18.5 cm, this piece exudes a powerful presence.

This evocative landscape painting features a dramatic cloudscape over a coastal scene. The brushwork captures the dynamic atmosphere, with rich, textured strokes bringing the sky and land to life. The interplay of colors and the intensity of the clouds create a striking contrast, conveying the raw beauty of nature.

The artist:
Georg Stoopendaal was born on December 13, 1866, in Jönköping and passed away on January 27, 1953, in Björketorp Parish, Älvsborg County. An autodidact, Stoopendaal did not receive formal artistic training but developed his craft independently. He is renowned for his landscape paintings from Bohuslän and still lifes. His works are held in high regard and are part of the collections at the National Museum and the Gothenburg Museum of Art.

The Stoopendaal family has a rich artistic heritage. Georg and his wife Anna, also a painter, moved to Hindås in 1921 and were active there for many years. Their son Wilhelm, known as "Mosse," followed in his father's footsteps, becoming a celebrated nature painter. The family also includes notable artists like Jenny Nyström, married to Georg's brother Daniel, and Ferdinand Stoopendaal, Georg's other brother.

Georg Stoopendaal's paintings of working horses are particularly sought after. Additionally, he was a skilled illustrator, contributing to several books and documenting American indigenous peoples during his time in the United States.

This painting, with its vivid depiction of a coastal landscape and dramatic skies, is a testament to Stoopendaal's talent and his ability to capture the essence of nature in his work. 

Ferdinand Hernlund (1837-1902) Sweden

Sunset Over a Meadow

oil on canvas
signed Ferd. Hernlund
unframed 37x48 cm 
framed 54x67 cm.

Essay:

We are delighted to present an exquisite painting by the Swedish artist Ferdinand Hernlund, depicting a serene sunset over a lush, flower-dotted meadow. This captivating work is a quintessential example of Hernlund’s mastery in capturing the poetic beauty of nature.

Description of the Painting

The artwork beautifully portrays a tranquil summer evening. The sun is setting behind a line of trees, casting a warm, golden glow across the meadow. The sky is awash with hues of orange, pink, and soft purple, typical of a glorious sunset. The meadow in the foreground is rich with verdant grass, scattered with delicate wildflowers, adding a touch of vibrant life to the scene. A small stream winds its way through the grass, reflecting the colors of the sky, leading the viewer's eye deeper into the painting.

The Artist

Born on August 17, 1837, in Eksjö, Sweden, Ferdinand Hernlund was a distinguished painter and illustrator known for his lyrical and warm depictions of Swedish landscapes, particularly from regions like Kalmar, Kolmården, and the Östgötaslätten.

From an early age, Hernlund showed artistic talent, creating cityscapes of Eksjö as early as 1850. His formal art education included studies in Stockholm under the guidance of Per Daniel Holm and further refinement of his skills in European art centers like Düsseldorf, Karlsruhe, and Munich.

Hernlund's primary residence was in Stockholm, though he often traveled to capture the diverse and picturesque Swedish countryside. His works were regularly exhibited at the Royal Swedish Academy of Fine Arts, where he was elected a member in 1887. Beyond his painting career, he contributed as an illustrator for notable works such as "Svenska folksägner" by Herman Hofberg and "Vårt land" by Gustaf Fahlcrantz.

Hernlund’s art is well-represented in several prestigious collections, including the Nationalmuseum, Kalmar Museum, and the Linköping Art Museum.