PORTRAITS

Julius Kronberg (1850-1921) Sweden

Angelica

oil on wood panel
signed J.Kronberg
unframed: 40.5 x 32 cm (15 7/8 x 12 5/8 in)
framed: 69 x 61 cm (27 1/8 x 24 in)

Condition: The painting has recently been examined by a professional art conservator, and the surface has been cleaned. The wooden panel is flat and stable. The painting is in very good condition. The original frame has a beautiful aged patina, with minor scuff marks and repairs.

ESSAY:

Literary Origins of Angelica

The subject of this painting is Angelica, a princess from the epic chivalric romances of the Italian Renaissance. She first appears in Matteo Maria Boiardo’s Orlando Innamorato (1483) and reappears famously in Ludovico Ariosto’s Orlando Furioso (1532). In these poems – part of the Matter of France cycle of Charlemagne and his paladins – Angelica’s extraordinary beauty ensnares many knights, including Orlando (Roland) and his cousin Rinaldo, sparking rivalries and adventures. Ariosto’s narrative particularly highlights Angelica’s tumultuous journey: at one point she is stripped and chained to a rock as a sacrifice to a sea monster (a scene mirroring the myth of Andromeda) before being dramatically rescued by the valiant knight Ruggiero on his winged horse. Ultimately, however, Angelica chooses her own destiny. She falls in love with a humble Saracen soldier, Medoro, whom she nurses back to health, and she returns with him to her far-off Asian kingdom – an affair that drives the heartbroken Orlando to madness. This independent resolution (marrying outside the circle of Christian knights) made Angelica an emblem of feminine agency and romantic idealism in Renaissance literature. Her story remained popular in art and literature through the centuries, symbolizing the allure and elusiveness of love.

Kronberg’s Portrayal and Composition

In Julius Kronberg’s oil painting, Angelica is portrayed not in the throes of action but as a serenely self-possessed young woman. The composition is a half-length frontal portrait against a simple, warm-toned background. Angelica meets the viewer’s gaze directly with her large, luminous eyes and a faint, enigmatic smile. Her auburn hair is loosely draped by a dark band, framing a face rendered with smooth, delicate modeling. She wears a green gown decorated with subtle golden embroidery at the neckline, attire that hints at a Renaissance or exotic origin without specifying a particular scene. The backdrop is a rich deep red, a color that both complements the green of her garment and imbues the image with a romantic warmth. Kronberg’s handling of oil on panel is meticulous – the surface is finely blended and luminous, with soft glazes and gentle transitions that recall the finish of Old Master portraits. The lighting is even and caressing, creating a soft glow on Angelica’s skin and giving her an almost lifelike presence. This intimate and static presentation allows Angelica’s contemplative expression to become the focus, inviting the viewer to engage with her character and inner life.

Artistic Interpretation and Style

Kronberg’s interpretive choice to depict Angelica in a calm, introspective pose (rather than illustrating one of her dramatic ordeals) is telling. Instead of showing the princess in distress or in the company of her rescuers and lovers, he presents her in a timeless moment of repose. Angelica’s direct yet gentle gaze conveys a sense of quiet strength and dignity, which may be read as an allusion to her autonomous decision in the saga to follow her heart with Medoro. The painting’s tone is lyrical and nostalgic – the harmonious color palette of reds and emerald-greens and the elegant simplicity of the setting evoke the idealized world of Renaissance romance. In this way, Kronberg’s Angelica serves as both an homage to its literary source and a character study. The viewer, aware of Angelica’s story, might sense beneath her composed exterior the echoes of her adventures – the peril, passion, and resolve that define her narrative – yet the artwork remains deliberately focused on her beauty and calm expression. The result is a portrayal of Angelica as an almost archetypal romantic heroine: physically graceful, emotionally poised, and imbued with an air of poetic mystery.

Julius Kronberg’s Style and Oeuvre

Julius Kronberg was one of Sweden’s notable academic painters of the late 19th century, known for his historicist and decorative approach. Educated at the Royal Swedish Academy of Fine Arts in Stockholm, and influenced by his studies in Munich and Rome, Kronberg often drew on mythological, biblical, and literary subjects for his paintings. Many of his major works feature dramatic heroines or exotic themes drawn from what he viewed as the “Orient” or antiquity – for example, his canvases Cleopatra’s Death (1883), David and Saul (1883), The Queen of Sheba (1888), and Hypatia (1889) all demonstrate his penchant for Eastern history and legend. Angelica fits well into this oeuvre of romantic and historical subjects. Like those works, it reflects the 19th-century fascination with the Renaissance and the exotic; Angelica, as a princess of Cathay in a Renaissance epic, would have appealed to Kronberg’s interest in opulent literary themes. However, unlike the grand, theatrical compositions for which Kronberg was renowned, Angelica is painted on a small, intimate scale (40.5 x 32 cm) and focuses on psychological nuance over spectacle. The painting showcases Kronberg’s academic technique and refined style: the brushwork is smooth and precise, the forms are idealized, and the colors are rich and saturated, recalling the influence of the French academic and late Romantic painters. Kronberg had also been impressed by the sumptuous style of Hans Makart during his time in Munich, and in Angelica one can sense a similar love of vivid color and idealized form. Even in this modest portrait, Kronberg achieves a sense of timeless elegance, turning a literary character into a vision of beauty that would resonate with his contemporary audience’s nostalgia for the Renaissance.

Provenance:
The painting was originally with Fritzes Kungliga Hofbokhandel (Fritze’s Royal Court Bookshop) in Stockholm, a prestigious bookseller to the Swedish royal household that also dealt in high-quality art publications and the sale of select artworks. It was later owned by the Swedish chemical engineer and inventor Arthur Ramén of Helsingborg and remained in his family by descent.

Matthäus (Matthias) Loder (active 1759-1828) 

Portrait of a Man

oil on canvas
unframed 50.5 x 40 cm (19 7/8 x 15 3/4 in)
frame 69 x 59 cm (27 1/8 x 23 1/4 in
A hand-made frame from Stockholms Bildhuggeri och Förgyllningen is included. 

Expertise: 
Stéphane Pinta, Cabinet Turquin, Paris

Provenance: 
Art Dealer Gösta Stenmans collection, no 849.

Essay:
This compelling portrait, recently studied by Stéphane Pinta of the esteemed Cabinet Turquin in Paris, has been confidently attributed to the Austrian painter Matthäus (Matthias) Loder. Pinta's careful examination has confirmed the work’s authorship, highlighting its expressive execution and unique stylistic character.

Painted with vigorous, spontaneous brushstrokes, the portrait stands out within Loder’s known oeuvre. The sitter—possibly a character study or self-portrait—is bathed in dramatic light and shadow, his eyes fixed on something just beyond the viewer with a gaze that is both intense and introspective. A blue feathered hat crowns his head, lending a theatrical flair, while the ruffled collar and bold highlights lend life and immediacy to the figure. The treatment of the face, partly obscured in shadow, is daring and modern in its painterly looseness, revealing an artist deeply engaged with psychological depth and formal experimentation.

Matthäus Loder, trained at the Vienna Academy under masters such as Hubert Maurer and Johann Baptist Lampi, was a gifted painter and illustrator whose life and work were deeply tied to the Alpine landscapes of Central Europe. Early on, he pursued nature studies alongside his fellow student Karl Ruß, embarking on sketching journeys through the Salzkammergut and Styria. His talent was recognized by Archduchess Marie Louise of Austria, who appointed him drawing master in Parma. Later, due to declining health, he returned to the Austrian Alps, where he became court painter to Archduke Johann. Loder accompanied the Archduke on numerous alpine expeditions, recording not only landscapes and traditional costumes, but also everyday life in the Styrian iron industry. His sensitive documentation of the Archduke’s romantic relationship with Anna Plochl adds a rare historical intimacy to his body of work.

This particular painting once belonged to Gösta Stenman (1888–1947), the legendary Finnish-Swedish art dealer and connoisseur. Stenman was a pioneer of modern art in Finland, promoting artists such as Tyko Sallinen, Helene Schjerfbeck—whom he famously “discovered”—and Jalmari Ruokokoski. His salons in Helsinki and later Stockholm were hubs for both contemporary and Old Master works. A discerning collector, Stenman’s eye for quality helped shape some of the most important Nordic collections of the 20th century. His holdings were so significant that during a financial crisis in the late 1920s, a portion of his collection—over 140 works—was transferred to the Ostrobothnian Museum in Vaasa as collateral.

Now resurfacing from this remarkable provenance, Loder’s portrait stands not only as a rare artistic statement from an underappreciated Austrian master, but also as a testament to the discerning eye of one of Scandinavia’s most important art dealers.

Christian Wilhelm Ernst Dietrich (Circle of)

Portrait of an Elderly Man

oil on wood panel
unframed: 15 x 12 cm (5 7/8 x 4 3/4 in)
framed: 27 x 24 cm (10 5/8 x 9 1/2 in)

Essay:
This finely executed oil painting, attributed to the circle of Christian Wilhelm Ernst Dietrich, captures the contemplative expression of an elderly man, his gaze lowered in quiet reflection. The artist skillfully employs a rich chiaroscuro technique reminiscent of Rembrandt and his followers, creating a striking contrast between light and shadow that accentuates the subject’s deeply lined features and textured beard. The warm, earthy tones lend an intimate, almost melancholic atmosphere to the piece.

Dietrich, renowned for his ability to imitate the styles of Old Masters, was particularly influenced by Dutch Golden Age painters. This small yet evocative composition exemplifies the lasting impact of his artistic approach, with its meticulous attention to detail and masterful handling of light. Likely painted in the early 19th century, this work serves as a testament to the enduring appeal of Dietrich’s aesthetic, which continued to inspire artists beyond his lifetime.

Despite its modest size, this portrait carries a commanding presence, making it a captivating addition to any collection of Old Master paintings.

Circle of Christian Wilhelm Ernst Dietrich (1712 - 1774)

Portrait of an Old Bearded Man With a Black Cap

oil on wood panel
unframed 25.5 x 18.7 cm
framed 36 x 30 cm

Essay:
We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil painting portrays a distinguished elderly man with a solemn and contemplative expression. His face is framed by a full, white beard, and he wears a soft hat in muted tones of brown and red, adding a sense of quiet dignity and reflection to his appearance.

The subject's eyes are thoughtfully downcast, capturing a moment of introspection. The fine details of his weathered skin and the meticulous rendering of his features highlight the artist's ability to convey depth and character. The use of light and shadow adds dimension to the composition, emphasizing the textures of his garments—a rich brown robe with a contrasting yellow collar that provides a subtle pop of color.

The painting is executed with a restrained color palette, which underscores the subject's serene and introspective mood. The dark background focuses attention on the man's expressive face, illustrating the stylistic tendencies of Dietrich's circle that blend realism with a touch of romantic sentiment.

This portrait, with its historical charm and artistic finesse, would make an exquisite addition to any collection, especially for those who appreciate late 18th-century portraiture and the artistic traditions of that era.

Christian Wilhelm Ernst Dietrich (1712 - 1774)

Portrait of an Old Bearded Man

oil on wood panel
unframed 25.5 x 18.7 cm
framed 36 x 30 cm

Essay:
We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil painting portrays a distinguished elderly man with a solemn and thoughtful expression. His face is framed by a full, white beard, and he wears a soft hat in muted tones of brown and red, lending a sense of quiet dignity and contemplation to his appearance.

The subject's eyes are downcast, perhaps reflecting a moment of introspection. The fine details of his weathered skin and the careful rendering of his features showcase the artist's skill in capturing the essence of character and emotion. The use of light and shadow adds depth to the composition, highlighting the textures of his garments—a rich brown robe with a yellow collar that peeks through, adding a subtle touch of color contrast.

The painting is executed with a muted color palette, emphasizing the subject's serene and introspective mood. The background is kept simple and dark, focusing the viewer's attention on the man's expressive face. This piece offers a window into the stylistic tendencies of Dietrich's circle, combining elements of realism with a touch of romantic sentiment. 

Hugo Backmansson (1860-1953) Finland 

Portrait of a Man from the Rif Region

watercolour on paper 
signed and dared H.Backmansson Rifarab 1939
unframed: 30.7 x 24 cm (12 1/8 x 9 1/2 in)
framed: 40 x 34 cm (15 3/4 x 13 3/8 in)

Provenance:
A private collection in Finland.

Essay:
This watercolour portrait by Finnish artist Hugo Backmansson depicts an Arab man from the Rif region of Morocco. Created during Backmansson’s journey to Morocco in 1939, the work captures the essence of the Rif's cultural and ethnic identity. The region, known for its rugged mountain landscapes and vibrant history, served as an inspiration for Backmansson, who often sought to document diverse cultures during his extensive travels.

Backmansson was deeply influenced by his experiences in Morocco, visiting the country twice, first in 1907 and later in 1939. His earlier trip produced another significant work, Man from Marrakech (1909), which is part of the Ateneum Museum's collection in Finland (Inventory No. A-2010-154). This earlier piece and the current watercolour both reflect his fascination with Moroccan culture and his skill in capturing the individuality of his subjects.

Ateneum Museum (Inventory No. A-2010-154) "Man from Marrakech (1909)" 

Born on April 14, 1860, in Pemar, Finland, Hugo Elias Backmansson initially pursued a military career, serving as an officer in the Russian army. After resigning in 1899, he fully dedicated himself to art. His formal art education began at Åbo Drawing School (1870–1873) and continued at the St. Petersburg Academy of Arts (1894–1899). Renowned for his portraits, landscapes, and depictions of military life, Backmansson also served as a battle painter during the Russo-Japanese War and later as head of Russian battle painters during World War I.

Backmansson's Moroccan works, including this portrait, are of great interest not only to art lovers but also to ethnologists and social anthropologists. His depictions of North African life intersect with the research of Finnish anthropologist Edvard Westermarck, who also explored Moroccan culture and society during this period.

The artist is represented in numerous prestigious collections, including Åbo Akademi, the Amos Anderson Art Museum, the Ateneum Museum, the Gösta Serlachius Museum, and the Hermitage in St. Petersburg.

Hanna Pauli (1864-1940) Sweden

Portrait of an Old Lady, 1886

watercolor on paper
signed Hanna Pa a tergo and authenticated by Agneta Pauli (the artist's granddaughter).
paper dimensions 18.5 x 13.5 cm
visible image c. 13 x 11.5 cm
framed 37 x 32.5 cm

Literature:
Pauli also portrayed Madame Papillon in an oil painting dated 1886, measuring 38 x 28 cm, exhibited in Stockholm at Nordiska Bokhandeln in the exhibition Hanna Pauli 1864–1940.
See the catalog of paintings by Hanna Pauli exhibited at Nordiska Bokhandeln, autumn 1923, no. 3: "Mere Papillon. Barbizon, France - 1886."

Essay:
This small and delicate watercolor is believed to depict Madame Papillon, a subject also portrayed by Hanna Pauli in an oil painting dated 1886. The portrait was created during the spring and summer of 1886 in Barbizon, France, where the artist stayed between 1885 and 1887. It was in Barbizon that Hanna Pauli famously painted her future husband, the artist Georg Pauli, in a work now part of the collection at Prince Eugen’s Waldemarsudde.

Hanna Pauli (née Hirsch) was born to music publisher Abraham Hirsch. She studied under August Malmström in Stockholm (1876–1879) before continuing her education at the Royal Academy of Fine Arts and later at Académie Colarossi in Paris (1885–1887). In 1887, she married Georg Pauli, a painter, sculptor, and writer. Together, they built Villa Pauli in Nacka, Sweden, which became a hub for cultural figures of the time.

Known for her intimate interiors and psychologically penetrating portraits, Hanna Pauli holds a special place in Swedish art history. Her notable works include Friends with Ellen Key (1900–1907), Venny Soldan (1887), and Verner von Heidenstam (1893). She and her husband donated significant works to Jönköping County Museum, and her art is represented in collections at Nationalmuseum, Norrköping Art Museum, and the Gothenburg Museum of Art. A retrospective of her work is planned at Nationalmuseum in 2025.

Ola Larsson (1863-1939) Sweden

Portrait of a Girl, 1929

oil on canvas
signed and dated 
unframed: 28 x 22 cm
framed 38 x 32 cm 

Provenance: 
A Swedish private collection.

Essay:

This charming portrait of a young girl, painted by Ola Larsson in 1929, invites viewers to wonder about her thoughts. Capturing her with a delicate and thoughtful expression, the painting reflects Larsson's exceptional talent for portraying human character with psychological sensitivity and artistic precision.

Ola Larsson (1863–1939) was a gifted painter, sculptor, and graphic artist whose early promise was widely recognized. After formal training at prestigious art academies in Copenhagen and Stockholm, and travels to artistic hubs such as Paris and Berlin, Larsson returned to his family’s farm in Vemmenhög, Sweden. Although his career was somewhat constrained by personal responsibilities and his involvement in local affairs, Larsson remained a dedicated artist throughout his life.

"The Village School Teacher" (1892)
One of Ola Larsson's most celebrated works, this portrait depicts his former teacher, Per Jönsson (1828–1901), seated at his desk. 

Known as "Vemmenhög’s own painter," Larsson was celebrated for his ability to capture both the physical likeness and inner essence of his subjects. His style, shaped by the intimate realism of the Danish art tradition, combines a keen eye for detail with an understated emotional depth. This portrait exemplifies his talent as a portraitist, showing not just the girl’s outward appearance but offering a glimpse into her contemplative nature.

Today, his works can be found in several notable collections, including the Nationalmuseum in Stockholm, Statens Museum for Kunst in Copenhagen and
Malmö museum.

What might this girl have been pondering as she sat for her portrait? Her gaze, soft yet introspective, leaves an open-ended question that resonates with anyone who admires Larsson’s skill in portraying life's quiet moments.

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

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

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)