PORTRAITS

Hilding Werner (1880-1944) Sweden

Self-Portrait, 1920

oil on canvas
signed with monogram and dated
unframed: 37 x 32 cm (c. 14.6 x 12.6 inches)
framed: 47 x 42 cm (c. 18.5 x 16.5 inches)
written on the back of the canvas:
(Hilding Werner: Study for Self-Portrait, Stömne, Aug, 1920)

Provenance: 
Acquired from the artist by Ralph Almark.

Condition: 
Recently restored by a professional art conservator in Stockholm. Ready to hang. 

Essay:
This striking self-portrait by Hilding Werner, painted in August 1920, captures the artist’s contemplative gaze against a deep green background. The expression on his face is one of intensity and introspection, as though he is reflecting on the serious times in which he lived. With a crisp, white collar that stands out against the darker tones of his attire, Werner presents himself with a restrained dignity. His somber expression invites the viewer to ponder his thoughts, suggesting the weight of responsibility and reflection in a turbulent era.

Hilding Werner (1880–1944) was a Swedish painter and illustrator born in Kårud, Värmland. He pursued his art studies at Caleb Althin's painting school in Stockholm and supported himself as a caricature artist for Nya Nisse. His connection with fellow artist Bror Lindh introduced him to prominent figures in Swedish art, including Richard Bergh, which led him to study at the Artists' Association’s painting school. Werner’s only study trip abroad took him to the Netherlands in 1905, after which he settled in Värmland, establishing a studio in Stömne in 1907.

A member of the artist collective De Frie, Werner exhibited with the Värmland Art Association and participated in group exhibitions throughout Sweden. Although he never held a solo exhibition during his lifetime, his legacy was commemorated with a retrospective at the Värmland Museum in 1946. Influenced by artists like Gustaf Fjæstad and Otto Hesselbom, Werner’s work combines romanticism with realism, often portraying the landscapes of Värmland. His oeuvre includes portraits, landscapes, and caricatures, each marked by a quiet yet profound dedication to his craft.

This self-portrait stands as a testament to Werner’s seriousness as an artist and the depth of his self-awareness, offering a rare, intimate glimpse into his character.

Attributed to Theodore Russel (Russell) (1614‑1689) England 

Portrait of a lady in blue dress ”Countess of Peterborough”

oil on wood panel
with indistinct inscription Countess of Peter[...] upper left.
with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”.
unframed 39 x 31 cm = 15.35 x 12.2 inches
framed 52 x 41.5 cm = 20.47 x 16.34 inches

Condition: 
The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included."

Provenance:
Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **;
Stockholms Auktionsverk, Fine Art & Antiques Autumn 2023, Lot 831, As "Attributed to Peter Lely (1618-1680)" (Expertise Stéphane Pinta, Cabinet Turquin, Paris);
Uppsala Auktionskammare, Important Sale, June 2024, Lot 637, As "Attributed to Theodore Russell (1614‑1689)". 

** The estate has changed hands multiple times since the 17th century. The current two-story, timber-framed main building was constructed in 1730 and expanded in 1804. The ancestors of the present owners acquired the estate in 1915. From the 20th century until 2023, the painting was displayed in the main building.

Literature:
Ingrid Martelius, Slott och herresäten i Sverige, Blekinge, 1968, mentioned p. 306 as by Sir Peter Lely, illustrated.

Essay:

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time.

The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history.

Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely rarely used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution.

Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques.

Peder Mønsted (Mönsted) (1859-1941) Danish

Portrait of a Girl, 1887

oil on wood panel
signed and dated PMönsted 1887
unframed 27.5 x 19.5 cm (10.83 x 7.68 inches)
framed 39 x 30.5 cm (15.35 x 12.01 inches)

Condition: 
The portrait has recently undergone restoration by our art conservator in Stockholm. The surface was full of old nicotine and varnish who was safely removed, along with some poorly executed previous retouching. As a result, the painting now presents a completely different appearance. The colors are vibrant, and the skin tones are more natural. A newly crafted frame is included.

Essay:
This painting titled "Portrait of a Girl" by the Danish realist painter Peder Mørk Mønsted captures an enigmatic young woman whose identity remains unknown. The girl, elegantly posed in profile, is adorned with jewelry that reflects the height of 1880s fashion. She wears a charm bracelet, inspired by Queen Victoria of England, who famously wore hers as a mourning piece after the death of Prince Albert in the 1860s. Each charm held a symbolic meaning—representing an event, place, or memory of a loved one. The bracelet is likely made of gold, a precious and fashionable material at the time.

Additionally, the girl wears two bangles on the same arm, a stylish choice for the portrait sitting, as it was more common to wear one on each arm. A large brooch adorns her neck, possibly a gold cameo made from seashell, although it's difficult to tell with certainty. On her finger, she wears a ring set with turquoise, a gemstone that was very popular at the time, adding another touch of fashionable elegance to the ensemble.

Her thoughtful expression and the graceful way she supports her head with her hand evoke a quiet sense of contemplation.

She is surrounded by lush green leaves, which adds a natural and organic contrast to her richly textured clothing and accessories. This balance between the softness of her features and the detailed background is a testament to Mønsted's skill in bringing lifelike realism to his subjects. Known primarily for his stunning landscapes, Portrait of a Girl showcases another dimension of Mønsted's artistic abilities — his ability to convey personality and depth in portraiture.

Although this piece departs from the snowy winter scenes and serene waters Mønsted is famous for, it reflects the same commitment to detail and realism, emphasizing his academic naturalist approach. The artist’s travels throughout Europe and his associations with influential artists have clearly informed his meticulous technique, as evidenced in the delicate rendering of the girl’s skin tone and the interplay of light across the surface.

This portrait is a rare opportunity to own a lesser-known, yet equally captivating, work by one of Denmark's foremost realist painters.

Eric Johansson (1896-1979) Sweden/Germany

Woman with Red Bow, 1940

oil on wood panel
signed on the back of the panel
dated 1940
unframed 60 x 54 cm
framed 71.5 x 66 cm 

Provenance: 
A Swedish private collection

Conditon: 
Very good condition, restored by a professional art restorer in 2024. Its original frame has an old patina and minor flaws. 

Eric Johansson's "Woman with Red Bow" (1940)

We are delighted to present for sale the evocative portrait “Woman with Red Bow” by the distinguished artist Eric Johansson, painted in 1940. This exquisite artwork portrays a woman seated by a window, holding a cigarette, her thoughtful gaze suggesting a narrative rich with introspection. The bold red bow tied around her neck contrasts strikingly with her dark attire, emphasizing her poised presence.

The scene, set in Täby just outside Stockholm, is imbued with a serene atmosphere, capturing a moment of quiet reflection. The bare trees visible through the window frame the subject against the muted tones of the backdrop, evoking a sense of stillness and contemplation. The painting, created during a time of global upheaval, invites viewers to ponder the woman’s inner world and the experiences she has endured.

About the Artist

Eric Johansson: A Journey Through Turbulent Times

Born in Dresden, Germany, in 1896, Eric Johansson was a talented artist whose life was deeply affected by the political upheavals of his time. Though relatively unknown in Sweden, Johansson achieved recognition as a notable expressionist abroad. His work, marked by vibrant expressions and emotional depth, was heavily influenced by the modernist movements of early 20th-century Europe, particularly the German expressionist collective "Die Brücke."

Growing up with German foster parents in a culturally rich Dresden, Johansson was immersed in an environment that nurtured his artistic ambitions. However, the rise of the Nazi regime in 1933 posed significant threats to his career and safety. Johansson, an outspoken critic of the regime and a member of the Communist Party, was also married to a Jewish woman. These factors made him a target for persecution. His art was deemed "degenerate" by the Nazis, and his works were displayed alongside other modernist masterpieces in the notorious Degenerate art (Entartete Kunst) exhibition, which aimed to discredit and condemn modernist art.

Despite his Swedish citizenship providing some initial protection, Johansson faced increasing danger. A casual remark about Hermann Göring led to his imprisonment for four months. Following his release, Johansson managed to escape from Germany, journeying through Czechoslovakia and Poland before finally finding refuge in Sweden, where he spent the rest of his life.

Johansson's body of work, much of which was tragically lost or destroyed during the Nazi purges, serves as a poignant testament to his resilience and artistic spirit. His paintings, once denigrated by the Nazis, now stand as enduring symbols of defiance and the power of creative expression in the face of oppression.

The Significance of "Woman with Red Bow"

Painted in 1940, as Europe was engulfed in the turmoil of World War II, "Woman with Red Bow" reflects a moment of deep contemplation and tranquility. The woman's serene yet enigmatic presence symbolizes a personal and collective resilience during a time of widespread uncertainty. The vibrant red bow serves as both a striking visual element and a symbol of strength amidst adversity.

 

Hilding Werner (1880-1944) Sweden

Hulda in a Room at Ruds Säteri 

mixed media on paper 
unframed 27 x 22.5 cm (10.63 x 8.86 inches)
framed 38 x 33.5 cm (14.96 x 13.19 inches)

Provenance:
We acquired this piece, along with several sketches, watercolors, and oil paintings, as part of a collection. It has previously been inherited within the artist's family.

Essay:
This finely executed portrait by Hilding Werner captures Hulda seated in a room at Ruds Säteri. The drawing, skillfully rendered with an ink pen, demonstrates Werner's mastery of line work. Each stroke contributes to the overall composition, creating a rich sense of depth and texture. Hulda is depicted sitting gracefully with a book in her hand, exuding an aura of calm contemplation. The background features a window, adding a sense of space and light to the scene.

About the Artist:

Hilding Werner (1880-1944) was a notable Swedish painter and draughtsman known for his romantic and realistic landscapes, portraits, and caricatures. Born in Värmland, Werner studied at Caleb Althin's art school and the Konstnärsförbundet's second art school, where he honed his distinctive style. His work often reflects a deep connection to the Swedish landscape and a keen eye for detail, as seen in this intimate portrait of Hulda. Werner's art continues to be celebrated for its emotional depth and technical precision.

Sam Uhrdin (1886-1964) Sweden

Moments of Reflection

oil on canvas
signed Sam Uhrdin 
canvas dimensions 65 x 55 cm
with frame 83 x 72 cm

Essay:
We are pleased to present a captivating painting by the artist Sam Uhrdin (1886-1964). This beautiful artwork depicts a woman from Dalarna, sitting in front of a warm, glowing fire. The entire painting is bathed in a soft, radiant light, particularly illuminating her face and traditional white/red attire. The woman appears contemplative, lost in thought, perhaps thinking of someone dear to her heart. She is depicted in a kitchen, taking a moment to relax after a day's chores in her home.

Sam Uhrdin's artistic journey began in the early 1900s, he traveled to Stockholm in 1903 to further continue his studies in painting. He worked as a painter during the day and attended various evening schools in the evenings. In 1906, he journeyed to America to work as a sign painter, but he mainly ended up working as an upholsterer. Returning to Leksand in 1909 via London and Paris, his artistic talent gained recognition, and with the help of some patrons, he began studying at the Royal Academy of Fine Arts in 1911, occasionally attending Althin's painting school in Stockholm. Financial circumstances cut his study time short, and his skill as a portrait painter earned him numerous portrait commissions, which further occupied his time.

In 1921, Uhrdin received a scholarship from the Royal Academy, enabling him to embark on a study trip in 1922 to the Netherlands, Belgium, and France, which he had to cut short due to his wife's illness. He later visited places like Spain and Portugal.

Uhrdin's breakthrough came with his portrait of the former Prime Minister Nils Edén, which he executed in 1919. In 1921, he portrayed the participants of the Swedish Academy. Among other representatives of official Sweden captured by Uhrdin were Gustav V, Manne Siegbahn, Ludvig Stavenow, and bishops Gottfrid and Einar Billing. In 1932, he held a solo exhibition at Konstnärshuset in Stockholm, and he participated in various exhibitions, including the Swedish Artists' Association in Stockholm in 1917, Swedish Art at Valand-Chalmers in Gothenburg in 1923, Dalarna Artists displayed at Liljevalchs Konsthall in 1936, and the National Museum's traveling exhibition "Barnet i konsten" (Children in Art) in 1965.

Uhrdin had a deep affection for the old Dala culture, and in a timber building in Tibble, he collected old objects from Leksand's culture, such as costumes, furniture, and household items, which he later used as props in his paintings. His artistic repertoire included genre paintings, portraits, and landscapes, with a particular focus on capturing the beauty of Dalarna. From 1935, he owned Tibble Manor outside Leksand. Uhrdin's artworks can be found in prestigious collections, including the National Museum in Stockholm, Leksand's Art Gallery, Uppsala University, and Leksand's Church, featuring his unfinished painting "Begravning i Leksand" (Burial in Leksand).

Provenance: 
A private collection Malmö, Sweden.

Daniel Saint (1778-1847) France

Portrait of a French Gentleman

large portait miniature on ivory
signed Saint
panel dimensions 27 x 21.4 cm
frame included 

Conditon:
An impressive restoration by Alan Derbyshire 2021-2023.
Still cracks between the ivory parts, there are some retouching, mostly in the background. Beautiful piece. 

Provenance: 
A Swedish private collection

 

Daniel Saint was a prominent French miniaturist who lived between 1778 and 1847. Born in Paris, Saint was the son of a jeweler and initially began his career as an apprentice in his father's workshop. However, he soon discovered his passion for painting and turned his attention to miniatures, which were highly popular in 18th and 19th-century Europe.

Saint was a highly skilled artist and quickly gained a reputation for his miniature portraits, which were characterized by their delicate detail and fine brushwork. His works often featured prominent figures from French society, including members of the royal family and high-ranking officials. He also painted portraits of wealthy patrons, many of whom commissioned him to create highly personalized works.

Saint's style was highly influenced by the neoclassical movement, which emphasized clarity, simplicity, and rationality. He often used a limited color palette, focusing on soft pastels and muted tones, which helped to accentuate the delicate features of his subjects. His compositions were typically centered around the face, with little background or context to distract from the subject.

Despite his success as a miniaturist, Saint was not immune to the changing tastes of the art world. In the mid-19th century, photography began to gain popularity, and many artists who specialized in portraiture found themselves struggling to compete with the speed and accuracy of this new medium. However, Saint continued to work and develop his craft, adapting his style to the changing tastes of his clients and experimenting with new techniques and materials.

In addition to his work as a miniaturist, Saint was also a skilled draftsman and created a number of highly detailed and intricate drawings and sketches. He was also known for his use of unconventional materials, such as hair, which he would incorporate into his miniature portraits to add texture and depth.

Today, Saint's works are highly prized by collectors and are held in museums and private collections around the world. His legacy as a master of miniature portraiture lives on, and his influence can still be seen in the work of contemporary artists who specialize in this unique and challenging medium.

Martin Eder (1917-1978) Swedish

Portrait of a Man

Martin Eder was a Swedish drawing teacher, artist and ceramicist. Martin was born on the island of Gotland and spent a lot of time there, he also lived in Sala. Martin was a curious artist who made study trips to France, Italy and Tunisia, among other places.
This portrait of Martin Eder is very special, it was painted in 1954 and depicts an unknown man, painted with expressionist brushstrokes with clear fine colours. With a few brushstrokes, he managed to create a portrait that is exciting and powerful.

Gouache on masonite
signed and dated Eder -54
picture dimensions 13.50 x 10.15 inches (34.3 x 25.8 cm)
frame 17.71 x 14.17 inches (45 x 36 cm)

Provenance:
A Swedish Private Collection

John da Costa (1867-1931, England)

oil on canvas
signed John da Costa and dated -02
canvas size 57.87 x 33.46 inches (147 x 85 cm)  
frame dimensions 62.99 x 38.58 inches (160 x 98 cm)  

Provenance:  
Possibly sold at Liverpool Dicksee & Co 1902 (see label), they were both frame makers and art agents;  Christie's, sale 707 GF according to a stencil on the back of the painting; English collection until sold to Sweden 1936; Aquired 1936 by Ingrid and Seth Molander, Sweden;  A private collection Sweden until acquired by Classicartworks Stockholm in the summer of 2021.

 

The story of the Belle époque in one portrait  

When it comes to glamour, no period in the history of art can compete with the Belle époque. A generation of highly talented artists developed new styles of portraiture that not only showed fashionable taste and elegance – but also the tensions and changes to come that lured behind the surface of this glittering age. One of them was John da Costa (1867–1931) also – involuntarily – known as “The John Singer Sargent of children’s portraits”.  

The time period between the Franco-Prussian war of 1871 and the outbreak of the first world war of 1914 was an unusually peaceful and prosperous one – at least on the surface. The decades leading up to the largest and most destructive war the world had ever seen were characterized by a combination of industrial boom, cosmopolitan life, the birth of modern art and literature and political movements that eventually would change society forever. In other words, it was a melting pot for many phenomenon and societal transformations that we still today are affected by, not least in the form of art.  

Breaking away from the more conservative academic traditions, new styles of painting of varying radicality emerged and both chocked and delighted audiences. When it comes to portraiture, names like John Singer Sargent and Anders Zorn conquered international audiences with their electrifying paintings of high society, politicians and celebrities of the era. Their erringly light brushwork created an almost dreamlike atmosphere where everything from the sheerness of dress fabrics, subtle lights of ballroom evenings and dense psychological facial expressions vibrated with the zeitgeist. Initially controversial and breaking with traditional expectations, eventually it was this kind of portraits that became the “dernier cri”, a hallmark of good taste and ultimately the very essence of the Belle époque. And it is here, in the vibrant field of portraiture, that John da Costa finds his place and artistic calling.  

 Press here - Continue reading

 

Dick Beer (b. London 1893 - d. Stockholm 1938) 

Portrait of Gabriele Varese (in Italian uniform), 1919

oil on canvas mounted on panel
116 x 90 cm 
stamp signature

Exhibited:
Solo exhibition, Stockholm, Nov-Dec 1917;
The Royal Academy Stockholm 1973;
Åmells Konsthandel  – En internationell kubist, Stockholm & London 2008
Hälsinglands Museum 2011
Millesgården – Dick Beer – Impressionist & Kubist, 2012

Provenance:
Within the family Beer until today

Cubistic vision:
In the period following the First World War, the artist’s painting underwent a fundamental transformation. Dick Beer was influenced by various modernistic expressions. In Paris, the first wave of cubism, led by Pablo Picasso and Georges Braque, was established. It was a controversial artistic style. There was a heated debate about cubism, in which the artist broke up the motif into smaller components, sometimes called facets, in order to rebuild it on the flat surface of the pictorial plane. This manner of painting represented a complete break with preceding pictorial conventions and naturalistic painting.

Cubism was governed by theory, not practice, and critics claimed that the style was too intellectual for the general public and they predicted that it would disappear and that artists would return to a rather more classic expression.

The theories surrounding cubism and its various expressions opened up for a number of reinterpretations in the 1910s. Dick Beer was well aware of the cubist discussions. He embraced the ideas but created a varied, personal and emotive cubism in the years around 1918. His painting was often an explosive discharge with playful characteristics and a futuristic dynamism which accentuated the painting’s inherent speed and movement, as for example his works “Dancer” and “The Toy Box”. He also experimented with geometric compositions of buildings and landscapes, which were reminiscent of Paul Cézanne’s more cubic landscapes. Here, Beer’s colours were often muted, in blue, brown and red hues. He frequently returned to earlier motifs and reworked his canvases into a cubist style, as in “Dancer tying her shoes” and “Seated dancer“.

Contemporary art critics were appalled and Beer had to endure severe criticism. At one point, the artist published a reply in the daily Politiken, 1919, where he described his view on art:

“... because love for and understanding of art, ‘l’art pour l’art’, is not easy to achieve, and neither is it easy to comprehend the different movements’ or schools’ origin, goals, characteristic endeavours, etc. – These international phenomena require not only theoretical and art historical knowledge but (...) the ability to empathise with and feel for art, as its practitioners do”.

 

Dick Beer (b. London 1893 - d. Stockholm 1938) 

oil on board
70 x 50 cm
stamp signed 
painted c. 1918-1919

Provenance:
Within the family Beer until today

Dick Beer (1893-1938)

Dick Beer was born in London in 1893. His father, John Beer (1853-1906), was a Swedish painter from Stockholm who had a career mainly as a watercolour painter with motifs of horses from racetracks and fox hunts from the countryside.

Barely fifteen years old, Dick Beer became an orphan and came to Sweden in 1907. Already in 1908-1909, he started at Althin's painting school in Stockholm. And later, at the Royal Academy of Arts from 1910-1912. His teachers were, among others, Gustaf Cederström, Oscar Björk and Alfred Bergström. 

At this time, Many artists went to Paris, and Dick Beer wasn't an exception; he rented a studio and took every spare time to visit academies such as Colarossi and Grande Chaumière and André Lhote. 

Dick Beer travels to Pont Aven in Brittany over the summer of 1913. In September, he went directly to Stockholm for his first solo exhibition with the French title Exposition des tableaux de Bretagne et autour de Paris; The exhibition was a big success with many visitors. 

1914-1917: First World War:

In the spring of 1914, Dick Beer undertook a longer study trip to Italy, Tunisia, Morocco and Spain.

When the French army mobilized, Dick Beer volunteered and was accepted into the French Foreign Legion. He was severely injured at Souain in September 1915, and the war injuries left him with severe deafness and nerve problems, which became increasingly noticeable over the years. During and after the war, he painted in a post-impressionistic style with a light palette, increasingly tuned in blue and green.

1918-1919

Dick Beer and Ruth Öhrling married in February, and in December, their only child, John, was born. During these years, Beer had a studio at Rådmansgatan in Stockholm. During this time, he paints several large Cubist compositions such as "In the Paddock" and "Arab Café". 

He participated in the Februarigruppen exhibition at Liljevalch's in 1919. His palette turned into a darker colour scheme dominated by green, blue, and red. 

Amedeo Modigliani made a pencil portrait of him in Paris in 1919. 

Throughout his short life, Beer spent most of his time in France and exhibited almost annually in Paris.

The Scandinavian motifs were mostly landscapes around Lake Mälaren and from the Stockholm archipelago, cityscapes, many nude studies and some portraits. 

Dick Beer practised many styles during his 30 years as an artist, from post-impressionism, cubism, late cubism, expressionism and naturalism. 

Cubistic vision:
In the period following the First World War, the artist’s painting underwent a fundamental transformation. Dick Beer was influenced by various modernistic expressions. In Paris, the first wave of cubism, led by Pablo Picasso and Georges Braque, was established. It was a controversial artistic style. There was a heated debate about cubism, in which the artist broke up the motif into smaller components, sometimes called facets, in order to rebuild it on the flat surface of the pictorial plane. This manner of painting represented a complete break with preceding pictorial conventions and naturalistic painting.

Cubism was governed by theory, not practice, and critics claimed that the style was too intellectual for the general public and they predicted that it would disappear and that artists would return to a rather more classic expression.

The theories surrounding cubism and its various expressions opened up for a number of reinterpretations in the 1910s. Dick Beer was well aware of the cubist discussions. He embraced the ideas but created a varied, personal and emotive cubism in the years around 1918. His painting was often an explosive discharge with playful characteristics and a futuristic dynamism which accentuated the painting’s inherent speed and movement, as for example his works “Dancer” and “The Toy Box”. He also experimented with geometric compositions of buildings and landscapes, which were reminiscent of Paul Cézanne’s more cubic landscapes. Here, Beer’s colours were often muted, in blue, brown and red hues. He frequently returned to earlier motifs and reworked his canvases into a cubist style, as in “Dancer tying her shoes” and “Seated dancer“.

Contemporary art critics were appalled and Beer had to endure severe criticism. At one point, the artist published a reply in the daily Politiken, 1919, where he described his view on art:

“... because love for and understanding of art, ‘l’art pour l’art’, is not easy to achieve, and neither is it easy to comprehend the different movements’ or schools’ origin, goals, characteristic endeavours, etc. – These international phenomena require not only theoretical and art historical knowledge but (...) the ability to empathise with and feel for art, as its practitioners do”.

Unknown Artist, Possibly Gustaf Brandelius (1833-1884) 

Portrait of a Young Boy With Hat 

oil on tree panel
painted c.1850-70
panel  9.05 x 5.90 inches (23 x 15 cm)
frame 12 x 8.85 inches (30.5 x 22.5 cm)

Condition:
Very good, bright and clear colours. A small scratch in the upper right cloud. 

Léon Richet (1847-1907) French

Girl with Flowered Hat

oil on panel 
panel 21.5 x 16 cm
with frame 32.5 x 26.5 cm
signed upper left corner: Leon Richet (see IR image)

Provenance: 
A Swedish private collection

Essay:
Introducing a stunning portrait by renowned French artist Léon Richet (1847-1907), depicting a young girl adorned with a beautiful floral wreath and a hat perched atop her head. This small yet captivating painting showcases Richet's mastery of the sfumato technique, which was famously invented by Leonardo da Vinci. The shading and blending of colors in the girl's face are truly remarkable, making her expression all the more captivating.

The girl's gaze is hauntingly mesmerizing, drawing you into the painting and capturing your attention. Her innocent and youthful appearance is enhanced by the delicate flowers adorning her head, which add a touch of femininity and beauty to the piece.

Léon Richet was a talented French painter, known for his landscapes, portraits, and still-life paintings. He was a contemporary of the Impressionists and often exhibited alongside them, though his style was more traditional and classical. Richet's works were highly sought after in his time, and his legacy continues to inspire artists and art lovers today.

This particular portrait of the young girl with the flower crown is just one example of Richet's exceptional talent. The same girl can be found in several of his paintings, indicating the artist's fondness and his desire to capture her in various ways.

If you're looking to add a touch of classic elegance to your art collection, this portrait by Léon Richet is a must-have.

Charles Bouchez (1811-1882) French

A Soldier Blowing the Trumpet

oil on canvas
signed and dated ch. Bouchez 1842
canvas dimensions 6.29 x 4.13 inches (16 x 10.5 cm)
frame 10.23 x 7.87 inches (26 x 20 cm)

Provenance:
A Swedish Private Collection

Carl Stephan Bennet 1800-1878

Portrait of Agneta Sophia Cederström in a Black Dress

oil on canvas
canvas dimensions 16.14 x 12.40 inches (41 x 31,5 cm)
frame dimensions 22.04 x 18.11 inches (56 x 46 cm)

Registered in the Swedish Portrait Archive: SPA 1918:246

Provenance:
Family Tersmeden, Hessle herrgård, Sweden.

 

Bennet received his artistic education during a trip to Italy from 1829-to 1832, where he stayed in Rome and Naples. His closest contact in Rome was with the sculptors Bengt Erland Fogelberg and Bertel Thorvaldsen and the French painter Horace Vernet. After returning to Sweden, he divided his time between military service and art.

In 1838, after advancing to captain, he resigned from the military and conducted preparatory studies in the field of art in Sweden. He then mainly painted Italian landscape motifs, Stockholm views and views of larger mansions, portraits, animal pictures and cartoon architectural motifs.

Bennet is represented at Malmö Museum, Kalmar Art Museum, Nationalmuseum, Skokloster Castle, Lund University Art Museum, Stockholm Castle, Norrköping Art Museum, and Uppsala University Library.

Alf Wallander (1862-1914) Sweden

Café Scene (Café interiör)

oil on board
signed Alf Wallander
frame 31.49 x 26.77 inches (80 x 68 cm)
panel size 23.89 x 19.29 inches (60.7 x 49 cm)

Provenance:
Sothebys London, lot 178, 07 June 2011, Sale Number: L11112;
Private Collection Sweden

Alf Wallander was the son of the architect Adolf Wallander and Hildegard Sofia Blom. Wallander studied at the Stockholm Royal Academy of Fine Arts 1880–1885, where he had his uncle as a teacher for a while. He further studied for Aimé Morot and Jean-Joseph Benjamin-Constant in Paris 1885–1889, where he also participated in the Paris Salon in 1889. At the 1889 World's Fair in Paris, he was awarded first prize for his pastel painting Tiggargubbe (Today in Göteborgs Konstmuseum collection). When he returned to Sweden in 1890, he stood behind the controversial group "Opponenterna" and participated in the group's exhibitions during the 1890s. He began his artistic career as a painter and was a member of the Swedish Artists' Association. Under the influence of his friend Oscar Björck in the 1890s, he adopted a symbolist style, which later reappeared in his ceramics.

From 1910 until his death, he was also curator of the Swedish General Art Association and, from 1908, headteacher of freehand drawing at the Technical School in Stockholm. With his wife Gerda Wallander, he exhibited at the Artists' House in 1910 and at the Swedish General Art Association in 1914 and with Oscar Björck, Bruno Liljefors and Prince Eugene at Blanch's Art Salon in Stockholm in 1891. He participated in the Art Academy's exhibition in 1885 arranged by Norrland Art Association in Sundsvall and Söderhamn and the Swedish Artists' Association's exhibitions in Gothenburg, Chicago, Munich, Berlin, Malmö and Paris.
Wallander is represented at Gothenburg Art Museum, Hallwylsiska Museet, National Museum Stockholm, Minneapolis Museum, Nordic Museum, Thielska Galleriet, Prince Eugens Waldemarsudde, Norrköping Art Museum, Uppsala University Library, Louvre Abu Dhabi and Behn. -House in Lübeck.

Ferdinand Fagerlin (1825-1907) Sweden  

Portrait of Alice Ritter, The Artists Wife  

oil on canvas
signed with monogram
painted 1862
canvas size 27.95 x 22.83 inches (71 x 58 cm)