WORKS ON PAPER

Carl Oscar Borg (1879–1947) Swedish/American

Valley View with Pines and Distant Peaks

gouache on paper
signed
unframed 17.5 × 12.5 cm (6.9 × 4.9 inches)
framed 28 × 23 cm (11 × 9.1 inches)

Provenance: 
A Swedish private collection. 

Essay:
This luminous gouache captures a majestic mountain vista, likely set in California’s Sierra Nevada (possibly Yosemite). Two broad granite peaks with sunlit faces dominate the background, rendered in warm creams and purples. In the middle ground a dense conifer forest blankets the valley slopes, while a sunlit ridge of golden grasses and scattered pines lies in the foreground. Borg’s loose, impressionistic brushwork conveys the crisp mountain atmosphere and the play of light and shadow across rock and tree. Above, an open blue sky with wisps of cloud enhances the sense of high-altitude clarity. The composition draws the eye along a diagonal valley path toward the distant peaks, giving the scene a grand sense of depth and scale despite the painting’s small size. The effect is both vibrant and serene, evoking the expansive beauty of the Western wilderness.

Swedish-born Carl Oscar Borg was a prominent early-20th-century artist of the American West. After coming to California in 1901 and studying with landscape painter William Wendt, Borg became associated with the California Impressionists who celebrated coastal and mountain scenery with bold color and light-filled brushwork. He rose to wider fame by the 1915 Panama–Pacific International Exposition in San Francisco and spent decades painting throughout California, Arizona and New Mexico. Borg is best known for his respectful depictions of Native American life and for dramatic Western landscapes – from Yosemite’s granite domes and the Grand Canyon’s vast canyons to New Mexico’s blue-tinged mountains. This gouache exemplifies Borg’s characteristic style: energetic, economy of stroke and a clear, harmonious palette that captures the unique light of the Southwest. He often worked in small studies like this one en plein air, producing many sketches in watercolor and gouache of mountain and desert scenes. Comparable examples in his oeuvre include studies explicitly of Yosemite’s cliffs and sketches titled “Blue Mountains, New Mexico,” all featuring the same luminous distant ridges and sunlit foregrounds. The present work’s sweeping valley and towering peaks reflect Borg’s lifelong fascination with Western vistas. Today, Borg’s paintings are celebrated for their combination of vibrant color and evocative atmosphere – qualities beautifully showcased in this intimate mountain landscape.

Carl Oscar Borg (1879–1947) Swedish/American

Easter Fires, Dalsland (Påskeldar, Dalsland)

gouache on paper
signed 
sheet 12.5 cm x 17.5 (4.9 x 6.9 in)
framed 23 x 28 (9 x 11 in) 

Essay:
A rare and atmospheric work from Carl Oscar Borg’s early years in Sweden, this evocative gouache captures the tradition of Easter fires (påskeldar) in the rural region of Dalsland. Against a smoky, windswept sky, silhouettes of figures gather near a roaring blaze. The fire’s bright orange and rose-colored flames cut through the night, casting fleeting light on the surrounding darkness. Quick, expressive brushstrokes heighten the drama of the scene, as heat and movement ripple through the composition.

This painting stands apart from Borg’s later, better-known American landscapes. Here, the focus is not on the grandeur of nature but on a moment of human ritual—communal, ancient, and deeply rooted in Nordic folklore. The påskeldar tradition, still practiced in parts of Sweden, historically served to ward off evil spirits and celebrate the arrival of spring.

Carl Oscar Borg left Sweden in 1901 and became a celebrated interpreter of the American West, painting its deserts, pueblos, and dramatic vistas. But works such as Påskeldar, Dalsland offer a rare glimpse into his early artistic vision—when his palette was still shaped by the dusky forests and folk customs of his native land. It reveals a different side of Borg: not the chronicler of the Wild West, but the young Scandinavian artist attuned to the elemental drama of firelight and shadow.

This intimate gouache glows with memory and myth, a flicker from the artist’s roots before his journey westward began.

Carl Oscar Borg (1879–1947)

An Old Military Road, The Road over Dovrefjell, Norway

gouache on paper, ca. 1900
signed
sheet 12.5 cm x  17.5 (4.9 x 6.9 in) 
framed 23 × 28 cm (9 × 11 in)

Essay:
This evocative mountain scene captures the vast, windswept highlands of Dovrefjell in central Norway. A narrow ochre road winds gently into the distance, cutting through tundra dotted with lichen-covered rocks, melting snowfields, and pale blue pools. Beyond the foreground, low ridgelines and rounded peaks rise up toward the horizon, tinged with mauves, rusts, and icy whites. The atmosphere is brisk and luminous—suggesting early morning light breaking over a remote, high-altitude plateau.

Dovrefjell, historically a main route between southern and northern Norway, has long been traversed by traders, pilgrims, and soldiers. The title of this work refers to the old military road across the massif—once a key artery for movement through the mountainous terrain. Borg’s painting conveys not only the natural beauty of the place, but also the quiet isolation and historical depth that characterize the region.

Painted around 1900, this gouache dates from Carl Oscar Borg’s earliest period as an artist, just before his emigration to the United States. Unlike his later, more widely known depictions of the American Southwest, this work belongs to a rare group of Scandinavian landscapes he executed as a young man. Here, his brush is loose and expressive, capturing fleeting light and shifting cloud with confident, fluid strokes. The composition is simple yet expansive, inviting the viewer to follow the winding road into the heart of the mountains.

As an early plein-air study, An Old Military Road reveals Borg’s sensitivity to light, land, and mood—qualities that would come to define his mature work. In this small but richly atmospheric piece, we see an artist on the verge of his transatlantic journey, absorbing the Nordic wilderness with a clarity and calm that echo across time.

Amalia Lindegren (Stockholm 1814–1891 Stockholm)

Italian Woman from Albano Seated on a Chair

titled “Albano”, in pencil
with color notations by the artist in pencil
pencil on paper, mounted on an old passe-partout
33.9 x 25.1 cm

Provenance:
Auction, Stockholm, Bukowskis, Förteckning öfver… Som tillhört… genre and portrait painter Amalia Lindegren, October 29, 1892, listed under V. Handteckningar ur Amalia Lindegrens portfölj, no. 170 or 171, “Kostymstudier. Blyerts”, sold for 6 kr 50 öre and 7 kr respectively, both purchased by Lanzki.

References:

• Exhibition catalog, Stockholm, Konstakademien, Retrospektiv Konstutställning, March 23–May 22, 1898.
• Exhibition catalog, Stockholm, Prins Eugens Waldemarsudde, Amalia Lindegren, April–June 1974.
• E.-L. Bengtsson, Amalia Lindegren: Aspects of a 19th Century Artist, in Woman's Art Journal, Vol. 5, No. 2, 1984–85, pp. 16–20.
• E.-L. Bengtsson, Verklighetens poesi. Svenska genrebilder 1825–1880, 2000.
• Exhibition catalog, L. Lantz, Katten i konsten på Nationalmuseum, 2006.
• E.-L. Bengtsson, En kämpande själ och den svenska konstens primadonna. Sophie Adlersparre och Amalia Lindegren, in Exhibition catalog, Stockholm, Nationalmuseum, Stolthet & fördom: kvinna och konstnär i Frankrike och Sverige 1750–1860, September 27, 2012–January 20, 2013.

Essay:
Executed during the artist’s stay in Rome from autumn 1854 to June 1855. In Rome, she painted her most famous work, Girl with an Orange, which was acquired in 1856 as part of Sweden’s first state-funded art purchase (Nationalmuseum NM 991). Lindegren was the first Swedish female artist to receive a travel grant from the Royal Academy of Fine Arts.

Adam Frans van der Meulen (1632-1690) Flemish, French

Study of a horse lying on its right side seen from the front

Inscribed: “Van der Meulen f.” 
Red chalk on paper
unframed: 20.5 x 24.5 cm (8 1/8 x 9 5/8 in, irregularly cut)
framed: 42 x 45 cm (16 1/2 x 17 3/4 in)

Provenance: 
Jean-Marc Du Pan (1785–1838), Geneva (L. 1440), passed to his brother
Alexandre-Louis Du Pan (1787–1846);
his sale, Geneva, March 26–28, 1840, included in lots 913–917;
Collection of Marie de Rohan-Chabot, Princess Lucien Murat, Paris;
Collection of Louis Stern;
Aguttes Auction, Paris, 2019, lot 4;
Acquired above by an important private collection, Stockholm.

Essay:
This exquisite red chalk drawing by Adam Frans van der Meulen depicts a horse lying on its right side, viewed from the front. It serves as a preparatory study for the left horse featured in one of the plates from the series of ten etchings titled Horses Wounded in Battle (see image), by Jan van Huchtenberg (1647–1733) after van der Meulen’s drawings. The series was published between 1662 and 1690 under van der Meulen’s supervision (Hollstein 41; Bartsch V. 425; Weigel 1843). 

Adam Frans van der Meulen, best known for his military scenes and landscapes, was granted a royal patent by Louis XIV to have his designs engraved and published. He assembled a team of skilled Flemish and Dutch printmakers, including Adriaen Frans Boudewijns, Abraham Genoels, Jan van Huchtenberg, and Romeyn de Hooghe, to translate his work into prints. The French engraver Robert Bonnart also collaborated with van der Meulen, producing and selling prints under his direction.

Van der Meulen’s designs—many of which depict landscapes, battles, and military life—were engraved and distributed to private clients. His prints were initially sold from his lodgings at the Gobelins Manufactory and later distributed by publishers and merchants. In 1670, he arranged for 13 large-scale engravings representing royal conquests and sieges to be created for the King’s Cabinet, which were later published by the Royal Printing Office in 1679. These engravings solidified his role as a propagandist for Louis XIV, contributing to the Sun King’s iconic image.

This drawing highlights van der Meulen’s masterful observation of anatomy and movement, capturing the vitality and pathos of his equestrian subjects.

Gustaf Wilhelm Palm (1810–1890) Sweden

Ruins of the Imperial Castle Outside Split in Croatia

pencil and watercolour 
unframed: 23.6 x 29.2 cm (9 1/4 x 11 1/2 in)
framed: 40 x 45 cm (15 3/4 x 17 3/4 in)
signed G.W. [a palm tree] and dated 1840 and bearing the inscription “Daßs Keysers Schloss in Croatia n. d. n. Sightseeing.[eichnet] de 21 October 840 in gesellschaft mit Sne Excelens Baron v Ottenfels incognito.

Essay:
In 1837, Gustaf Wilhelm Palm left Stockholm for Berlin to seek treatment for an eye disease. By August 1838, he had settled in Vienna, where he remained for over two years. However, Palm’s ultimate dream was to travel to Italy. After visiting Hungary and Trieste, he finally embarked on his journey to Venice in November 1840, beginning a decade-long stay in Italy.

While in Vienna, Palm exhibited works at the Academy of Fine Arts and the Art Association's exhibitions. In 1840, he presented several paintings featuring local landscapes, including View of the Ruins of Dürenstein by the Danube and View of Gutenstein Castle in Steiermark. The latter was purchased by the Art Association in Stockholm in 1841 (G. Lindgren, Landskapsmålaren G. W. Palm 1810–1890, 1934, pp. 60, 64–65).

During his time in Vienna, Palm became acquainted with Baron Franz Xaver von Ottenfels (1778–1851), a confidant of Chancellor Klemens von Metternich. Von Ottenfels’ eldest son, Moritz Franz von Ottenfels (1820–1907), would go on to become one of Palm’s closest friends. In September 1840, Palm was invited to the von Ottenfels family estate, Horwatzska, in Hungary.

From Horwatzska, Palm and Franz Xaver von Ottenfels undertook an excursion to Croatia, where the von Ottenfels family owned the castle of Bežanec. The ruins depicted in this watercolour were likely drawn during this journey and are believed to represent the medieval castle of Klis, located in the mountains outside Split. This castle, once the seat of Croatian kings, was later converted into a fortress during the Ottoman wars.

Palm’s inscription on the watercolour includes the term "incognito," referring to Baron Franz Xaver von Ottenfels’ frequent use of the pseudonym Henry Werner during his travels. After leaving Horwatzska, Palm continued to Trieste in Italy, arriving at the end of October (Lindgren, op. cit., pp. 67–68).

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.

Victor Jernbergh (1882-1963) Sweden

Evening Glow by the River, 1917

pastel on paper
signed and dated V.Jernbergh -17
unframed 43 x 54 cm (16.93 x 21.26 inches)
framed 59.5 x 70.5 cm (23.43 x 27.76 inches)

Provenance: 
A Swedish private collection. 

Essay:

This evocative pastel painting by Victor Jernbergh, dated 1917, captures the serene and enchanting scene of a river at dusk. The central composition is dominated by a lone pine tree in the foreground, which creates a striking depth and leads the viewer's eye into the tranquil landscape beyond. The soft, fading light of twilight is beautifully rendered, casting a warm glow over the river and the surrounding hills, giving the entire scene a sense of calm and stillness.

The meticulous details and the rich texture of Jernbergh’s pastel strokes highlight his mastery in capturing the delicate interplay between light and nature. The interplay of shadows and the gentle, flowing lines of the river enhance the painting's dreamlike quality. This piece is a testament to Jernbergh’s ability to convey both the grandeur and the quiet intimacy of the natural world.

The Artist:
Victor Jernbergh (1882-1963) was a Swedish artist, draftsman, and graphic designer. Born on April 28, 1882, in Eskilstuna, he was the son of Carl Johan Jernbergh and Fredrika Karolina Carlström. Jernbergh's artistic journey began with studies at the Technical School in Stockholm (1902-1903), followed by advanced training in drawing and lithography in Berlin (1904-1906). He further honed his skills under the tutelage of Carl Wilhelmson from 1913 to 1915 and studied etching with Axel Tallberg from 1915 to 1917.

Throughout his career, Jernbergh exhibited widely across Sweden, showcasing his work in cities such as Eskilstuna, Gävle, Nyköping, and at the prestigious Konstnärshuset in Stockholm. He participated in numerous group exhibitions with the Graphic Society and the Original Woodcut Association and was featured in the Swedish Art exhibition at Valand in Gothenburg.

Jernbergh's oeuvre includes landscapes from Norrland and Spain, rendered in oil, pastels and watercolour, as well as rustic scenes depicted through woodcuts. As an illustrator, he contributed to several fairy tale books. His public works include an altarpiece for Jukkasjärvi Church and a baptism chapel in Nyköping. His graphic works are part of the collections at the National Museum, the Eskilstuna Art Museum, and the Östersund Museum.

ROBERT THEGERSTRÖM (1857-1919) SWEDEN

WINTER LANDSCAPE, 1908

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

Condition: Very good.
 
Provenance: 
Jack and David Berner

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

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

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

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

Ture Ander (1881-1959) Sweden

A Värmland Landscape, 1941

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


Provenance:
A private collection. Värmland

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

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

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

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

Pierre Etienne Moitte (Paris 1722–1780 Paris)

A Fashionable Couple, 1766

signed "Moitte del 1766” and inscribed with color notations by the artist.
pencil on paper, 19th-century mount.
19.5 x 15.5 cm (7 5/8 x 6 1/8 in)
unframed

Essay:
Pierre Etienne Moitte studied in Paris under Jacques-Firmin Beauvarlet and Pierre-François Beaumont (1719–1769). In 1771, he was accepted (agréé) by the Académie Royale de Peinture et de Sculpture and subsequently signed his works as Graveur du Roi. Between circa 1747 and 1754, he was one of the principal engravers commissioned for the Cabinet de S.E.M. Le Comte de Brühl, a collection published in Dresden in 1754. This series consisted of 50 plates after selected paintings from the celebrated collection of Heinrich von Brühl.

Among his contributions were the Mystic Marriage of St Catherine after Correggio, three historical subjects after Jean-Baptiste Corneille, and 11 masterful reproductions of Dutch and Flemish paintings. These included The Dutch Merchantand The Flemish Cook after Gerrit Dou, The Broken Egg after Frans van Mieris the Elder, The Judgement of Paris after Rubens, four landscapes after Jacob van Ruisdael and Guillam Dubois (circa 1610–1680), as well as Travellers' Rest and Horses at the Watering Trough after Philips Wouwerman.

Moitte achieved considerable success in Paris, primarily through reproductions of works by 18th-century French painters such as Nicolas Lancret, François Boucher, and Pierre-Antoine Baudouin. Most notably, he popularized sentimental genre scenes by Greuze, creating prints such as The Wrathful Mother, Repentance, and The Idle Woman. Like many reproductive printmakers of his time, Moitte also engraved illustrations for books. For instance, he contributed 17 plates after drawings by Jean-Baptiste Oudry for the four-volume folio edition of Jean de La Fontaine's Fables, published between 1755 and 1759.

Drawings by Moitte are extremely rare. The color notations on the present drawing suggest that it was intended as a study for a colored engraving.

Hilding Werner (1880-1944) Sweden

Barns Buildings at Ruds Säteri, 1900

watercolor on paper
unframed 21.5 x 31 cm (8.46 x 12.2 inches)
framed 22 x 40 cm (8.66 x 15.75 inches)
written on the back: Ruds ladugårdshus, 1900

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.

Condition: 
The watercolor is in a very good condition, having recently been treated by a paper conservator. The conservator successfully diminished the visibility of a text on the back, which had previously shown through to the front.
The frame is new and features UV-protected, non-reflective glass.

Essay:

This watercolor by Hilding Werner depicts the barn buildings at Säteriet (Manor) Rud in Arvika, capturing a serene and almost melancholic atmosphere. The soft tones and minimalistic composition highlight Werner's ability to convey stillness and introspection through his art.
The painting shows the quiet rural life of early 20th century Sweden, with snow-covered roofs and a calm, muted sky. The simplicity of the scene belies the depth of emotion and tranquility it evokes, a hallmark of Werner's artistic genius.


Ruds Säteri, 1927

About Hilding Werner:

Hilding Werner (1880-1944), a Swedish painter and draughtsman, is known for his romantic and realistic landscapes, particularly of the Värmland region. His work spans from caricatures to poignant rural scenes, such as this one. Werner studied at Caleb Althin's art school and the Konstnärsförbundet's second art school, where he developed his distinctive style. His art is celebrated for its emotional depth and connection to the Swedish landscape.

This watercolor not only showcases Werner's technical skill but also his ability to capture the essence of rural Sweden, making it a significant piece in his oeuvre.

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.

Olle Hjortzberg (1872-1959) Sweden

A Yellow Rose, 1917

watercolor painted on an envelope
indistinctly signed with monogram
unframed 18.5 x 12.5 cm (7.28 x 4.92 inches)
framed 34.5 x 29 cm (13.58 x 11.42 inches)

Provenance: 
A Swedish private collection. 

Herman Müller (Swedish, 1840-1919)

View from Blasieholmen, Stockholm

watercolour on paper
signed and dated H.Müller.1896.
picture dimensions 23 x 28 cm
frame 37.5 x 42 cm

Provenance: 
A Swedish Private Collection

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.

James Gillick (b. 1972) Norfolk

At Full Gallop

sepia crayon on 300gsm arches HP paper
blue gessoed paper
unique
unframed: 38 x 56 cm (15 x 22 in)
framed: 65 x 83 cm (25 5/8 x 32 5/8 in)

Today, comparable pieces can be ordered directly from the artist's website, with prices ranging from £5,000 to £10,000 (approximately $6,000 to $12,000).

Provenance:
Sladmore Contemporary, London, June 2016.


Essay:
This striking artwork, titled "At Full Gallop," is a testament to James Gillick's profound admiration for horses and his extraordinary skill as an artist. Executed in sepia crayon on blue gessoed board, the piece captures the grace and dynamism of two galloping horses. The intricate detail of their forms, combined with the bold contrast of sepia tones against the blue background, brings a timeless quality to the composition. The work not only celebrates the beauty of equine movement but also reflects Gillick’s ability to evoke life and spirit through traditional techniques.

About the Artist:
James Gillick, born in Norfolk in 1972, is a contemporary artist celebrated for his devotion to the figurative tradition. Working from his studio in Louth, Lincolnshire, he employs classical techniques inspired by the Flemish, Dutch, and Spanish masters of the 17th century. Gillick handcrafts many of his materials, including paints, varnishes, and canvases, which contributes to the rich, timeless quality of his works. His limited palette and meticulous attention to detail allow him to create pieces with depth and resonance.

Horses are among the artist’s favorite subjects, and his connection to them is deeply personal. Gillick describes his joy in capturing their essence:

"I'm a joyful man, in fact. One of the reasons for that joy is that things do exist, that thousands of generations of people have been working on with an immense focus and singular care. Among the greatest of this type of thing is a living thing - Equus, the horse. And I mean thousands of years of people dreaming of an idea of perfection in an unbroken chain have given us the horse and horse breeds. In so many ways, the horse is born beautiful. It's beautiful in its bearing, beautiful in its proportions, beautiful in color, in coat. The names to describe it are beautiful. Coronet, Fetlock, Muzzle, Gaskin, Hock, Stifle, Withers, Cannon, Paston, and Pole. Their movement is hypnotizing because it is so beautiful. But most of all, their spirit is beautiful. Their lack of guile, their willingness, their courageousness at times. The aristocratic aloofness of the thoroughbred. The power of the polo pony. The sheer effervescence of the Arabian. The way in which a stallion directs his attention to his mare with such single-minded honesty and the way she receives his approach with such dignity is beautiful because they are faultlessly everything they were ever designed to be. They are amazing. And the people who create them are amazing. With my brushes, let me show you the horse, one of my great joys."

Gillick’s work is exhibited internationally and includes portraits, still lifes, and church commissions. His dedication to tradition, combined with his unique artistic voice, has made him a respected figure in the art world.

Hilding Linnqvist (1891-1984) Sweden

A Rural Landscape With Cows and Horses

watercolor
signed with monogram HL
framed 43.5 x 51.5 cm

Essay: 
This watercolor by Hilding Linnqvist who was a Swedish artist born in 1891 and passed away in 1984.
Linnqvist, known for his association with the Naïvist movement, often described as a "lyrical Naïvist," showcases his unique ability to capture the essence of rural life with a remarkable simplicity and charm. This artwork features grazing cows and horses amidst a lush landscape, with water reflections in the foreground, encapsulating the artist's love for landscape motifs.

The painting exudes Naïvist characteristics, revered for its beauty in simplicity, almost giving the impression of being unfinished. However, we believe that Linnqvist considered this piece completed decided to sign it with his monogram HL.
Linnqvist's artistic journey began at the Technical School (now Konstfack) from 1908 to 1910 and continued at the Royal Swedish Academy of Arts from 1910 to 1912, before he left to form an independent study group with fellow artists. This group made its debut in 1914, but Linnqvist's breakthrough came with the autumn exhibition at Liljevalchs in 1918.

This watercolor remains a testament to Linnqvist's enduring legacy and his connection with the natural world, rendered with a depth of feeling and an understated elegance that speaks directly to the viewer's soul.

Henry Holmström (Swedish)

Dopparedagen, 1931

This is the original front cover for the Christmas Magazine - Dopparedagen 1931.
Watercolour on paper.

Gerhard Ludwig Lahde (Bremen 1765–1833 Köpenhamn)

A Tailor Working at his Desk

Ink and wash on paper, mounted on a 19th-century backing inscribed “G. L. Lahde del.”
unframed: 14.2 x 10 cm (5 5/8 x 3 7/8 in)
framed: 37 x 32 cm (14 5/8 x 12 5/8 in)

Provenance:
Benjamin Wolff (1790–1866) (Lugt 420)
Thence by descent until 2018;
An important private collection, Stockholm. 

Exhibited:
The Nivaagaard Collection, Tegnekunst på Nivaagaard 2, 1984, no. 40, illustrated

Essay:
This drawing was likely intended as a preparatory work for a series of prints depicting local crafts.

Lahde, born in Bremen, was admitted to the Danish Academy of Fine Arts in 1787. After completing model school, he trained in the art of engraving under Johann Friedrich Clemens (1749–1831). He received several academic honors, including the small silver medal (1790), the large silver medal (1791), and the small gold medal (1792). Though originally planning to return to Bremen, Lahde decided to settle in Copenhagen, where he established himself as a successful printmaker and publisher. In 1792, he became a Danish citizen, and in 1799, he was appointed Engraver to the Danish Court.

In 1805, Lahde acquired a property on Gothersgade, where he managed a thriving business. The property also served as a residence and workspace for notable artists such as C.W. Eckersberg and Johannes Senn.

Lahde is best known for his engravings, which range from topographical views to depictions of everyday life. His works serve as valuable historical documents, capturing significant events such as the Christiansborg Palace fire (1794), the Copenhagen Fire (1795), and the bombardments of Copenhagen in 1801 and 1807. He also produced street scenes, portraits of prominent figures, and series showcasing traditional costumes. Many of his prints were hand-colored by his daughters or assistants, further enhancing their appeal.