LANDSCAPES

Mauritz Lindström (1849-1923) Sweden

Winter Landscape at Dusk

oil on canvas
signed AM Lindström
unframed 128 × 75 cm (50.4 × 29.5 in)
framed 143 × 91 cm (56.3 × 35.8 in)

Condition report:
The painting has recently undergone professional conservation by a leading art restorer. The old, yellowed varnish has been carefully removed, revealing a remarkable new depth and contrast in the composition. The colors now appear significantly clearer and more vibrant, enhancing the overall presence of the work. The painting is in very good condition. The frame is gilded in gold leaf and crafted from Italian wood.

Essay:
A leading artist in Swedish landscape painting around the turn of the century, Arvid Mauritz Lindström was celebrated for his evocative depictions of nature in all its seasonal moods. In Winter Landscape at Dusk, he captures the quiet grandeur of the Nordic winter with remarkable sensitivity to light, atmosphere, and texture.

The composition is anchored by a forested cliff, where snow-covered trees cling to the edge above a frozen lake. In the foreground, gnarled branches and rugged rocks seem to emerge from the canvas, lending the painting a vivid, almost tactile three-dimensionality. Despite the wintry setting, the work is rich in color—from the cool silvers and deep greens of the woods to the luminous streaks of gold and blue breaking through the dusk sky.

A faint winter path can be seen stretching across the ice, subtly suggesting human presence in this otherwise untouched wilderness. Lindström’s skillful brushwork and layered palette infuse the landscape with quiet drama and depth, exemplifying why he remains one of Sweden’s most admired interpreters of natural scenery.

Sam Uhrdin (1886-1964) Sweden 

Winter Landscape, 1910

oil on canvas
signed and dated
unframed: 35 x 45 cm (13 3/4 x 17 3/4 in)
framed: 44 x 54 cm (17 3/8 x 21 1/4 in)
Handcrafted black frame by Stockholm Förgyllning & Bildhuggeri.

Essay: 

This atmospheric landscape from 1910 offers a rare glimpse into a lesser-known side of Sam Uhrdin’s work. Painted before his formal art education, the canvas reveals an emerging artist with a natural command of composition and mood. The dramatic sky—swirling with grey, white, and blue clouds—dominates the scene, stretching over a quiet, snow-covered plain marked by low vegetation. The result is a powerful and contemplative image of the Nordic landscape, full of space, light, and early spring tension.

Sam Uhrdin (1886–1964) began his career as a decorative painter and travelled to America in 1906 to work as a sign painter and upholsterer. After returning to Sweden via London and Paris in 1909, his artistic talent was recognized, and with support from local patrons, he was admitted to the Royal Swedish Academy of Fine Arts in 1911. His studies were short-lived, however, as portrait commissions soon began to dominate his time. He would go on to become one of Sweden’s most prolific portraitists, depicting figures such as Prime Minister Nils Edén and King Gustav V.

Uhrdin is best known for his depictions of life in Dalarna—folk interiors, portraits, and regional landscapes—but this early work stands apart. It reflects an artist at a crossroads, still discovering his voice, and already showing remarkable sensitivity to atmosphere and form.

Hugo Carlberg (1880-1942) Sweden

Moonlight (Månsken)

oil on canvas/board
signed H Carlberg
c.1910-1913
unframed: 58 x 74 cm (22 7/8 x 29 1/8 in)
framed: 78 x 95 cm (30 3/4 x 37 3/8 in)

Exhibited: 
Likely exhibited as
Månsken No. 11 at the Hugo Carlberg exhibition in Landstingssalen, Malmö, 1913, and again as Månsken No. 9 at the Lund University Art Museum exhibition in 1914. Both references most likely refer to this very painting.

Essay:
A rare and poetic nocturne by Swedish artist Hugo Carlberg, Moonlight evokes the hushed stillness of a moonlit landscape. Silvery reflections shimmer across the water as tall trees cast delicate silhouettes, bathed in soft, glowing light that breaks through the clouds. Atmospheric and subtly dramatic, the painting captures Carlberg’s remarkable sensitivity to light and mood.

This work was likely exhibited as Månsken No. 11 at Carlberg’s solo exhibition in Landstingssalen, Malmö in 1913, and again as Månsken No. 9 at the Lund University Art Museum in 1914—both references almost certainly referring to this very painting.

Hugo Carlberg was born in Eksjö in 1880. He studied at the Royal Academy of Fine Arts in Stockholm and later in Paris. Best known for his luminous landscapes, often painted en plein air, he frequently depicted the natural beauty of Småland, particularly in late winter and early spring light. In addition to oil painting, Carlberg developed a distinctive personal style in watercolor, blending techniques to create a unique “mixed” medium. His work is represented in the collection of the Kalmar Art Museum.

Andreas Hanson (born 1880)

Spring Flood, Ockelbo, 1917

oil on canvas
signed and dated Andr. Hanson 19-17
unframed: 40.5 x 71 cm (15.9 x 28 in)
framed: 48 x 79 cm (18.9 x 31.1 in)

Essay:
Painted in 1917, this striking winter landscape captures the force and stillness of a spring flood, likely set in the artist’s native Ockelbo region. The painting is a rare example of Andreas Hanson's limited output. A historic photograph held by the Gävleborg County Museum shows this work exhibited alongside two other paintings by Hanson around 1920. Notably, the painting still retains its original frame, which is visible in the archival image.

Though little is known about Hanson's life today, his works—often winter scenes imbued with a quiet northern atmosphere—have a distinct place in early 20th-century Swedish regional painting. This composition is particularly remarkable for its nuanced depiction of light and movement in the thawing water.

Condition report: The painting is in a very good condition and has recently undergone a surface cleaning. The original frame has an old patina and has been repaired in several places, particularly along the edges.

Ludvig Richarde (1862-1929) Sweden

Evening Sail

oil on board
signed L.Richarde.
unframed: 24.5 x 39.5 cm (9 5/8 x 15 1/2 in)
framed: 35 x 49.5 cm (13 3/4 x 19 1/2 in)

Essay:
This charming marine painting by Swedish artist Ludvig Richarde captures a lone sailboat gliding across calm waters, bathed in the delicate light of dusk. The palette is rich in soft pinks and purples, evoking the stillness and serenity of the sea at sunset. Richarde's confident brushwork and keen sensitivity to light lend the work a vivid sense of atmosphere.

Ludvig Richarde was born in Gothenburg in 1862 and passed away in Båstad in 1929. He studied in Stockholm (1879–1882) and later in Copenhagen (1884–1887), and traveled extensively across Europe. Known primarily as a marine painter, he also depicted coastal scenes and landscapes, often inspired by the natural surroundings of Hallandsåsen.

Johan (John Kindborg) (1861-1907) Sweden

Nordic Winter Twilight, 1901

oil on canvas
signed and dated Kindborg 01.
unframed: 48.5 x 33 cm (19 1/8 x 13 in)
framed: 58 x 43 cm (22 7/8 x 16 7/8 in)

Essay:
This captivating winter landscape by Johan Kindborg (1861–1907) offers a rare and luminous depiction of a Swedish forest at dusk. Under a blanket of snow, the winding path draws the viewer into a serene world where tall pines frame a view toward a lake reflecting the last light of day. The sky, painted in delicate shades of pink, lilac, and deep violet, bathes the scene in a quiet, almost mystical glow. The mirrored sunset on the water glimmers in a spectrum of colors—from golden amber to dusky rose—rendering this moment both vibrant and hushed.

Kindborg studied at the Royal Swedish Academy of Fine Arts and further honed his skills under the guidance of Edvard Perséus and Oscar Törnå. He traveled extensively in Europe, absorbing influences from Paris, London, Vienna, and Munich. Though best known for his atmospheric views of Stockholm and depictions of Sweden’s royal palaces, he also painted evocative scenes from the countryside. This work is a striking example of his ability to combine naturalistic detail with a poetic sense of light and atmosphere.

Kindborg’s work is represented in the collections of the Nationalmuseum in Stockholm, Norrköping Art Museum, and Kalmar Art Museum.

Carl Johansson (1863-1944) Sweden

Vangforsen, Ramsele, 1915

oil on canvas
signed and dated Carl Johansson 15
unframed: 50 x 65.5 cm (19 5/8 x 25 3/4 in)
framed: 68 x 83 cm (26 3/4 x 32 5/8 in)

Essay:
Painted in 1915 by Carl August Johansson, Vangforsen, Ramsele captures the serene beauty of northern Sweden's landscape at a time when it was still untouched by modern hydroelectric development. The scene depicts Vangforsen, a stretch of whitewater rapids in the Faxälven river near Ramsele in Västernorrland, a region rich in sweeping views and natural drama. Today, much of the original flow of the river has been altered by hydroelectric expansion, but in Johansson’s time, the landscape was wild and unspoiled.


Postcard from Vangforsen (Wagnforsen), from the early 1900s

Rendered in vivid, luminous color, the composition radiates clarity and light. Johansson uses short, delicate brushstrokes to build a highly atmospheric yet structured scene. A tall pine tree dominates the foreground, anchoring the viewer’s gaze before it moves into the gentle movement of the river and lush, rolling hills beyond. The brushwork is impressionistic, yet highly controlled — a hallmark of Johansson’s mature style.

Carl Johansson (1863–1944), born in Härnösand, was known as “Norrland’s painter” for his devotion to the landscapes of northern Sweden. His artistic sensibility was shaped early by studies at the Royal Swedish Academy of Fine Arts and by contact with leading figures in French Impressionism during his travels in the 1890s and early 1900s. Influenced by artists such as Monet and Pissarro, he gradually adopted a lighter palette and a more expressive touch, though always grounded in firm drawing and technique.

Johansson had a lifelong fascination with light and atmospheric effects. Notably, all of his paintings were composed with the sun positioned at precisely 30 degrees north-northwest. In his later years, he was known for the increasingly bluish tones in his work, earning him the affectionate nickname “Ultramarin-Johansson.”

As a technically meticulous painter with a deep connection to the northern landscape, Johansson left behind a legacy of work that bridges romantic naturalism and impressionist modernity. 

Carl Oscar Borg (1879-1947) Swedish/American

Arizona Landscape

gouache on paper
signed CARL OSCAR BORG.
unframed: 12 x 17.5 cm (4 3/4 x 6 7/8 in)
framed: 22 x 27 cm (8 5/8 x 10 5/8 in)

Provenance: 
Nagel Auctions, Stuttgart, Germany, 08 dec 2010, lot 1036.

Essay:
In this expressive gouache study, Carl Oscar Borg captures the dramatic sweep of the Arizona highlands, where storm clouds gather over layered mesas and valleys bathed in shifting light. Painted with fluid brushstrokes and a bold sense of contrast, the work reflects the artist’s deep connection to the American Southwest and its untamed beauty. The swirling forms of clouds and shadowed ridges lend the scene a sense of movement and emotional weight.

This compact composition—rendered in gouache on card—embodies the immediacy of a plein air study, likely painted on location during one of Borg’s extensive journeys through Arizona. The chromatic tension between the earthy foreground and the deep blues of the distant hills reflects Borg’s ability to balance drama with harmony.

Born in Sweden in 1879, Carl Oscar Borg immigrated to the United States in the early 1900s, eventually settling in California. He became one of the most prominent interpreters of the Southwest, known for his sensitive portrayals of Native American life and his vivid depictions of landscapes in New Mexico, Arizona, and California. His career spanned painting, teaching, and film art direction, and his work is represented in many major American museum collections.

Arizona Landscape is a striking testament to Borg’s gift for capturing not only the geography of the West, but its atmosphere—vast, volatile, and profoundly alive.

Carl Oscar Borg (1879-1947) Swedish/American

Blue Mountains, New Mexico

gouache on paper
signed CARL OSCAR BORG.
unframed: 12 x 17.5 cm (4 3/4 x 6 7/8 in)
framed: 22 x 27 cm (8 5/8 x 10 5/8 in)

Provenance: 
Nagel Auctions, Stuttgart, Germany, 08 dec 2010, lot 1034.

Essay:
In this luminous landscape study, Carl Oscar Borg captures the serene beauty of the New Mexican high desert, likely looking toward Mount Taylor, a sacred peak that rises above the surrounding mesas and plains west of Albuquerque. The distant blue-violet tones of the mountain, softened by atmospheric haze, contrast elegantly with the warmer hues of the foreground—rust-red earth, green groves, and tranquil washes of water.

Painted in gouache on card, this work demonstrates Borg’s characteristic ability to convey depth and radiance with economy and precision. His use of color—subtle yet expressive—evokes the clarity of Southwestern light and the quiet monumentality of its landscapes.

Carl Oscar Borg was born in 1879 in Grinstad, Sweden, and immigrated to the United States at the turn of the century. Settling in California, he rose to prominence as a painter of the American West, becoming particularly known for his respectful depictions of Hopi and Navajo life and for his dramatic renderings of the region’s natural wonders. A multifaceted figure, Borg also worked as a film art director in early Hollywood and was a founding member of the California Art Club. He exhibited widely and is represented in major American museum collections.

In this intimate work, Borg distills the spirit of the Southwest into a quiet but powerful composition—a testament to his deep reverence for the land and its stories.

Carl Oscar Borg (1879-1947) Swedish/American

Inscription Rock, New Mexico

gouache on paper
signed CARL OSCAR BORG.
unframed: 12 x 17.5 cm (4 3/4 x 6 7/8 in)
framed: 22 x 27 cm (8 5/8 x 10 5/8 in)

Provenance: 
Nagel Auctions, Stuttgart, Germany, 08 dec 2010, lot 1037.

Essay:
This striking gouache by Swedish-American artist Carl Oscar Borg depicts the monumental sandstone formation known as Inscription Rock, part of El Morro National Monument in western New Mexico. Towering above the desert plain, this dramatic outcrop has served for centuries as a waypoint for travelers, who carved their names and messages into the soft rock—ranging from ancestral Puebloan petroglyphs to inscriptions by Spanish explorers and American pioneers.

Carl Oscar Borg was born in 1879 in the village of Grinstad, Dalsland, Sweden, and immigrated to the United States in the early 20th century. Settling in California, he became a celebrated painter of the American Southwest, capturing its vast landscapes and Native cultures with deep reverence and dramatic flair. Borg was closely associated with the Hopi and Navajo peoples and is often described as their "artistic interpreter."

An influential figure in the California art scene, Borg also worked as an art director during the golden age of silent film and taught at institutions including the California Art Institute and the Santa Barbara School of the Arts. His work is represented in major museum collections across the United States.

In Inscription Rock, New Mexico, Borg's sensitive handling of color and texture conveys the spiritual grandeur of the Southwestern landscape. The painting is a fine example of his enduring fascination with the land and its layered histories.

Olof Arborelius (1842-1915) Sweden

Landscape, likely from the Uddevalla area

oil on canvas
signed O.Arb.s 
unframed: 25 x 35 cm (9 7/8 x 13 3/4 in)
framed: 43.5 x 53 cm (17 1/8 x 20 7/8 in)

Provenance:
A private collection Lysekil, Sweden

Essay:
This beautifully rendered landscape by Olof Arborelius captures the serene stillness of a summer’s day, likely set in the lush surroundings of the Uddevalla region on Sweden’s west coast. Rolling forested hills meet the quiet surface of the water, which reflects the greenery with striking clarity. A few scattered cottages nestle between the trees, evoking a timeless sense of Swedish rural life. The painting comes in its finely preserved ornamented original frame (with some minor flaws)

Olof Arborelius (1842–1915) was a prominent Swedish painter known for his depictions of folk life and sweeping landscapes. Born in Orsa, Dalarna, Arborelius was deeply influenced by his native region and the traditions of Swedish genre painting. After studying for seven years at the Royal Swedish Academy of Fine Arts, he embarked on an extended study tour across Europe. Upon his return in 1872, he became an associate of the Academy and later served as both instructor and professor, shaping generations of Swedish artists.

Though he aligned himself with the progressive Opponent movement in the 1880s, Arborelius remained stylistically rooted in the naturalism of the Düsseldorf School. His works reflect a deep attachment to realism and a gradually evolving use of more vibrant colors and monumental compositions in his later years. He was often noted—and sometimes criticized—for his distinctive use of green, most famously by Fritz von Dardel.

Arborelius’s works are represented in numerous major museum collections, including the Nationalmuseum in Stockholm, the Gothenburg Museum of Art, the Ateneum in Helsinki, and several regional museums throughout Sweden. 

This painting is a fine example of Arborelius’s mature landscape work—an evocative and tranquil scene, imbued with both technical finesse and heartfelt connection to the Swedish countryside.

Olof Arborelius (1842–1915) Sweden 

Summer Reflection, Engelsberg

oil on board
c. 1880-1890
signed with monogram OA
unframed: 23 x 17 cm (9 x 6 3/4 in)
framed: 33.5 x 27 cm (13 1/8 x 10 5/8 in)
handcrafted frame by Stockholm Förgyllning och Bildhuggeri included.

On the reverse: printed estate label reading “Painted by Olof Arborelius, certified,” signed by E. T. Arborelius, the artist’s son.

Provenance:
The artist’s estate, with stamp on the reverse; Swedish private collection.

Essay:
This intimate plein air study by Olof Arborelius captures the quiet beauty of a sunlit forest edge reflected in still water. The confident, spontaneous brushwork and delicate handling of light and shade suggest it was painted directly from nature—en plein air—a method Arborelius often used, especially during his time in Engelsberg, where this work was most likely created.

Engelsberg held a special place in Arborelius’s artistic life and is also the setting for his most famous painting, Sverigetavlan, now in the collection of Nationalmuseum in Stockholm. Though modest in scale, this small panel radiates presence and mood, demonstrating Arborelius’s skill in conveying atmosphere with a restrained palette and expressive brushwork. The painting is presented in a hand-gilded frame made by Stockholm Förgyllning och Bildhuggeri.

Olof Arborelius was a key figure in Swedish genre and landscape painting. Born in Orsa in 1842, he studied at the Royal Swedish Academy of Fine Arts and spent several years traveling and studying in Europe before returning to Sweden. In 1902, he was appointed professor at the Academy, where he influenced a new generation of artists.

Though associated with the Düsseldorf school and the academic tradition, Arborelius embraced elements of the opponentmovement’s freer realism in his later work. Known especially for his depictions of rural life in Dalarna, his palette evolved over the years toward clearer tones and more monumental compositions.

Arborelius is represented in several major collections, including the Nationalmuseum, Göteborgs Konstmuseum, Ateneum in Helsinki, and Nordiska Museet. His legacy also lives on through sketchbooks and materials donated by his descendants to the Academy of Fine Arts, including a remarkable early stamp collection now held at the Postmuseum in Stockholm.

Wilhelm von Gegerfelt (1844–1920) Sweden

Canal in Venice

signed “W. Gegerfelt”
Oil on wood panel, purchased by the artist at Emilio Aickelin, Via 22 Marzo, Venice — a renowned supplier of artists’ materials
unframed: 38 x 26 cm (15 x 10 1/4 in)
framed: 47 x 34.5 cm (18 1/2 x 13 5/8 in)

Essay:
In this luminous canal scene, painted during his stay in Venice in the early 1880s, Wilhelm von Gegerfelt captures the vivid atmosphere and dazzling light of the city with remarkable immediacy. Executed with short, spontaneous brushstrokes and areas of impasto, the painting also reveals the artist’s use of the reverse end of his brush to incise fine details — as seen in the rigging of the sails — a technique famously used by Rembrandt. Gegerfelt lets parts of the warm brown panel remain visible, lending the composition an earthy undertone and enhancing its lively, plein air character.

The painting exemplifies Gegerfelt’s mature style, marked by a refined sensitivity to light, air, and fleeting impressions. As art historian Viggo Loos writes in Friluftsmåleriets genombrott i svensk konst 1860–1885 (1945, p. 254):
“At his best, Gegerfelt attains an impressionistic lightness in his depiction of the interplay of light and atmosphere over canals and lagoons, and a graceful softness in his small studies. In his earliest paintings, one senses a deep infatuation with the southern light, with the tonal interplay of the façades, and with the shifting hues of the intensely blue skies.”

Gegerfelt first visited Venice in 1882, at the same time as Carl Skånberg and Georg Pauli. Like them, he was deeply influenced by the southern light and vibrant street life, which transformed his palette and approach. His Venetian works are often characterized by a looseness and clarity that mark a departure from the academic landscape tradition.

A pivotal figure in Scandinavian art, Gegerfelt helped bridge the gap between the German-inspired romantic landscape painting of the 19th century and the emerging plein air realism of the 1870s. His bold handling of color would inspire artists such as Carl Fredrik Hill, with whom he shared a close friendship during his years in Paris.

After more than a decade in France, Gegerfelt returned to Sweden in 1888, settling first in Uppsala, where he briefly taught Prince Eugen, and later in his native Gothenburg. He spent his summers on Hallands Väderö and in Torekov, where he continued to paint and also took up photography as a creative pursuit.

This painting is a striking and evocative example of Gegerfelt’s Venetian period — a confident, atmospheric work by one of Sweden’s foremost plein air painters.

Ernst Lundström (1853-1931) Sweden

A Twilight Mystery

oil on canvas
signed
unframed: 43.5 x 33.5 cm (17 1/8 x 13 1/4 in)
framed: 53.5 x 43.5 cm (21 1/8 x 17 1/8 in)

Provenance: 
Gifted from the artist to Per Hasselberg (1850-1894)

Essay:
We are pleased to present this painting by Ernst Lundström, dedicated to the esteemed sculptor Per Hasselberg. The dedication on the front of the painting makes this piece particularly significant, as it stands as a testament to the friendship and artistic connection between two prominent figures of the Swedish scene. Given that Per Hasselberg passed away in 1894, it is likely that this painting was created and gifted during the late 1880s, a period marked by Lundström’s involvement in the Opponentrörelsen (The Opponents' Movement) alongside Hasselberg.

This atmospheric painting captures a nocturnal or twilight scene, with still waters in the foreground and dark, enigmatic buildings silhouetted against a brooding sky. The bare trees and the distinctly Nordic quality of the light and color palette suggest a Scandinavian cityscape, possibly Stockholm. The shimmering reflections on the water and the stark branches evoke the quiet, almost melancholic beauty of a northern evening.

On closer inspection, the central building appears to be engulfed in flames, adding an intriguing layer of mystery and drama to the work. The red-orange glow of the fire stands in sharp contrast to the cool blues and greys of the surrounding scene, drawing the viewer's eye into the heart of the painting. This unexpected detail transforms what at first glance might seem like a serene city view into a moment of tension and unease.

The high, industrial chimney visible against the sky may offer a clue to the painting’s location. It could depict an area along Stockholm’s waterfront, perhaps near Djurgården or along Stockholms ström, where industrial buildings once stood near the water. However, the exact location remains uncertain, adding to the painting’s enigmatic charm.

Both Lundström and Hasselberg were active in The Opponents' Movement, a collective of Swedish artists who challenged the traditional methods of the Royal Academy of Fine Arts. Their involvement in this progressive circle of artists provided fertile ground for their friendship, with Hasselberg serving as vice-chairman of the Konstnärsförbundet (Artists’ Association), where Lundström was also board member.

Ernst Lundström (1853–1931) was a versatile artist, known for his evocative landscapes from France, Italy, and his native Sweden. His works often depict twilight or moonlit scenes, capturing the tranquil yet introspective mood of the natural world. In addition to his painting, Lundström was an accomplished artisan and contributed to decorative arts projects, including collaborations with Nils Kreuger. His works are held in esteemed collections, including the Nationalmuseum in Stockholm.

Axel Peter (1863–1942) Sweden

Rowboat Beneath the Trees, 1918

oil on canvas
signed and dated ax. Peter. 1918.
unframed: 46 x 55 cm (18 1/8 x 21 5/8 in)
framed: 56 x 65 cm (22 x 25 5/8 in)

Provenance: 
A private collection in Nyköping, Sweden.

Condition:
The painting has recently been professionally cleaned and is in remarkably good condition for its age of over 100 years. A newly gilded gold frame is included with the purchase.

Essay:
This evocative landscape by Axel Edvard Peter captures the serene beauty of nature with remarkable skill. Painted in 1918, the scene depicts a wooden rowboat resting in still waters beneath the sheltering branches of a lush tree. The dappled sunlight filtering through the foliage creates a mesmerizing interplay of light and shadow, while the artist’s use of short, expressive brushstrokes imbues the composition with a vibrant, almost impressionistic quality. The rich greens and golden hues of the landscape reflect Peter’s mastery of color and atmosphere.

Axel Peter was a Swedish painter known for his distinctive artistic voice, shaped by his studies at the Royal Academy of Fine Arts in Stockholm and further training in Paris and Germany. He was part of the influential Opponents’ Movement (Opponentrörelsen) of 1885, alongside artists such as Richard Bergh, Nils Kreuger, and Eugène Jansson, who sought to challenge academic conventions in Swedish art. His body of work includes landscapes, cityscapes, portraits, and floral still lifes, all marked by his keen eye for composition and light.

Peter’s works are held in several prestigious collections, including Nationalmuseum in Stockholm, Uppsala University Library, and Kalmar Art Museum, reflecting his lasting contribution to Swedish art history.

Jacob Löfgren (1872-1961) Sweden

Storm over Sandhamn, 1943

oil on board
singed and dated J.Löfgren 1943
unframed: 35 x 45 cm (13 3/4 x 17 3/4 in)
framed: 46 x 55 cm (18 1/8 x 21 5/8 in)

Essay:

This striking seascape, painted in 1943 by Jacob Löfgren, most likely depicts a view from Sandhamn, a location he frequently captured in his works. Four years earlier, he created another painting, presumably from the same spot, which is confirmed to have been painted in Sandhamn. Comparing the two, we can see how he refined his vision—the foreground, the water, and the lighthouse in the background remain, yet the elements are intensified. The waves surge with greater power, the clouds are more dramatic, and a few glowing stars now punctuate the dark sky. The scene is bathed in deep blue tones, enhancing its atmospheric depth.


Jacob Löfgren - From Sandhamn, View of Grönskär Lighthouse, 1939

Grönskär Lighthouse – The Queen of the Baltic

The lighthouse in the background is most likely Grönskär Lighthouse, also known as The Queen of the Baltic Sea. Located three nautical miles east of Sandhamn, it stands on barren, rugged cliffs that plunge steeply into the sea. This beautifully preserved stone tower is one of the most iconic landmarks of Sweden’s east coast.

Built in 1770 from granite and sandstone, the lighthouse was originally fueled by coal before being upgraded in 1910 with a powerful Lux lamp. In early 1984, it was transferred to the Archipelago Foundation to be preserved as a historical monument to past maritime navigation and safety. Today, the lighthouse still shines with a welcoming green light, a guiding beacon for sailors braving the unpredictable Baltic waters.

The former lighthouse keeper’s residence now serves as a conference venue, offering breathtaking views toward the horizon. Nowhere else does the sea feel closer—especially when the wind howls and storms rage outside, much like in Löfgren’s evocative painting.

The Löfgren Brothers – Artists of Sandhamn

Three of the Löfgren siblings were active artists in Sandhamn, each pursuing their own creative path.

• Jacob Löfgren (1872–1961), a former sailor, was self-taught and painted mostly in oil, focusing on Sandhamn and its surroundings. He began painting around 1940, capturing the shifting moods of the archipelago.
• Rickard Löfgren (1873–1952), also a sailor and self-taught artist, dedicated himself exclusively to crafting dioramas of sailing ships, starting his artistic career in the 1940s.
• Helmer Löfgren (1866–1955) trained as a sculptor in Germany and at the Konstnärsförbundets school in Stockholm. In 1890–91, he created the sculpture Havsfrun, placed in a giant kettle hole below the chapel in Sandhamn. However, due to unfulfilled love, he abandoned his studies and withdrew from society, living as a recluse. He left behind numerous small sculptures, often depicting seagulls.

Hilding Werner (1880-1944) Sweden

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

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

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

Essay:
Hilding Werner, a Swedish artist, was known for his evocative landscapes of Värmland, striking portraits, and satirical caricatures. We are pleased to offer for sale one of his remarkable works, Moonlight Over Krokvattnet (near Glafsfjorden), a painting that beautifully encapsulates the serene and atmospheric essence of the Värmland countryside.

Measuring 42.5 x 77 cm, this masterful composition presents a moonlit view of Krokvattnet, a small lake in Årjäng Municipality, Värmland, situated 243 meters above sea level. The scene is skillfully arranged, with the foreground gently sloping down toward the shimmering water, a peninsula extending to the right, and distant blue-tinted mountains creating a sense of depth. The sky, layered with soft grey and white clouds, diffuses the moonlight, which reflects poetically on the lake’s surface. The painting exudes a quiet, almost melancholic mood, while the small red cottage in the lower right corner introduces a human element, evoking a feeling of solitude and contemplation.

Werner’s ability to render light and atmosphere is fully evident in this work. His delicate handling of tonal variations and reflections results in an image that is both dreamlike and deeply rooted in the landscape of Värmland. A related study for this painting is preserved in the collection of the Värmland Museum (inventory number 20053), offering insight into Werner’s working process and his meticulous approach to composition and lighting.

Born into a family of landowners, Werner pursued his artistic education at Caleb Althin's painting school in Stockholm in 1899, later continuing at the Konstnärsförbundet's second painting school under the influence of Richard Bergh. Though he traveled abroad only once, to the Netherlands in 1905, he was profoundly shaped by fellow Swedish artists such as Gustaf Fjæstad and Otto Hesselbom. His deep connection to Värmland extended beyond painting; he was a co-founder of the Värmland Artists' Association and remained an active contributor to the region’s cultural life.

His works, including his satirical drawings, were the focus of a special exhibition at the Värmland Museum in 2015, and he is well represented in their collection.

Moonlight Over Krokvattnet is not just a landscape; it is an atmospheric meditation on light, solitude, and nature’s quiet grandeur. Acquiring this painting is an opportunity to own a distinguished piece of Swedish art history, imbued with the poetic sensibility of one of Värmland’s most cherished artists.

Comparable sales:

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

  

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

Carl Johansson (1863-1944) Sweden

View Over Häggvik, Nordingrå, 1917

oil on wood panel
signed and dated Carl Johansson 1917-
unframed 38 x 53.5 cm

Essay:
Carl Johansson (1863–1944) was a Swedish painter renowned for his evocative landscapes, particularly those capturing the striking natural beauty of northern Sweden. His works reflect a masterful interplay of light, atmosphere, and color, influenced by both traditional landscape painting and the Impressionist movement.

This painting, View Over Häggvik, Nordingrå (1917), depicts a serene yet dramatic vista of the UNESCO World Heritage-listed Höga Kusten (High Coast), an area distinguished by its unique post-glacial land uplift—the highest recorded in the world. The region’s dramatic cliffs, tranquil fjords, and vast skies provide an endless source of inspiration for artists, and Johansson masterfully translates this into his signature ultramarine-tinged palette.

View Over Häggvik, Nordingrå, 1974
Photo by Hilding Mickelsson (1919–2002)

Johansson’s artistic journey began with detailed, meticulously rendered landscapes, but his exposure to French Impressionism, particularly the works of Claude Monet and Camille Pissarro, led him toward a more expressive and light-filled approach. His later works, including this painting, demonstrate his characteristic use of cool, crisp tones and a harmonious interplay of light and shadow, capturing not just the physical landscape but also its atmospheric essence.

Beyond its aesthetic appeal, this work is a testament to Johansson’s dedication to his craft and his ability to convey the grandeur of Sweden’s northern landscapes. He was often referred to as Norrlandsmålaren (the painter of Norrland) for his lifelong commitment to portraying the region. Today, his paintings can be found in several prominent collections, including the Nationalmuseum in Stockholm.

Oskar Bergman (Stockholm 1879–1963 Saltsjöbaden)

“Skogskanten” (Winter Landscape with Spruce Trees)

signed "Oskar Bergman" in pencil
drypoint etching
image size: 19.5 x 29.5 cm (7 5/8 x 11 5/8 in)
paper size: 30 x 40 cm (11 3/4 x 15 3/4 in)
unframed
created in 1915

Exhibited:
Stockholm, The Swedish General Art Association, Catalogue of Paintings, Drawings, and Etchings by Oskar Bergman, January 17–February 14, 1916, listed under 1915, no. 167 as “Skogskanten.”

Printed in a maximum of 50 copies.

Oskar Bergman (Stockholm 1879–1963 Saltsjöbaden)

“Fjärden” (Expansive Archipelago Landscape)

Signed "Oskar Bergman" in pencil
Drypoint etching
image size: 17.5 x 25 cm (6 7/8 x 9 7/8 in)
paper size: 29 x 39 cm (11 3/8 x 15 3/8 in)
unframed

Exhibited:
Stockholm, The Swedish General Art Association, Catalogue of Paintings, Drawings, and Etchings by Oskar Bergman, January 17–February 14, 1916, listed under 1915, no. 174 as “Fjärden.”

Printed in a maximum of 50 copies.