OTHER

Clara Löfgren (1843–1923) Sweden

Pergola Noor, c.1890

oil on canvas laid down on board
unframed: 27.7 x 26.7 cm (10.9 x 10.5 in)
framed: 35 x 34 cm (13.8 x 13.4 in)

Provenance:
Likely owned by the artist Olof Hermelin (his name inscribed on the reverse)

Essay:
Clara Löfgren’s Pergola Noor is an intimate oil painting from around 1890, depicting a sunlit pergola overgrown with flowering vines. The composition captures a quiet corner of a garden, where dappled sunlight filters through the trellis and foliage, casting delicate patterns across a winding path. The interplay of light and shadow is rendered with sensitivity and warmth, creating an atmosphere of stillness and summer serenity. The title, Pergola Noor, alludes to this radiant quality—noor meaning "light"—a fitting reference to the way illumination permeates the scene and infuses it with softness and life.

This small-format work, executed in oil on canvas laid down on board, possesses a jewel-like quality. Its near-square proportions heighten the sense of intimacy, drawing the viewer into the secluded garden space. The name of fellow artist Olof Hermelin appears on the back, suggesting the work may have once belonged to him. This link between artists of the period offers an intriguing layer of historical connection and shared aesthetic sensibility.

At the time Pergola Noor was painted, Clara Löfgren was an accomplished artist with formal training from the Royal Academy of Fine Arts in Stockholm and further studies in Munich and Paris. Though best known for her portraits—including royal commissions—she was equally adept in landscape and genre scenes. The garden motif of Pergola Noor reflects the influence of plein-air painting and the 19th century’s growing interest in capturing transient effects of light in nature. The treatment of atmosphere and subtle tonal transitions places Löfgren in dialogue with broader European trends of the era.

Clara Löfgren belonged to a generation of Swedish women artists whose work was admired in their time but later undervalued in art history. Alongside peers such as Julia Beck and Emma Ekwall, she navigated a male-dominated art world with determination and skill. These artists built respected careers and exhibited widely, yet their contributions were often overlooked for much of the 20th century. In recent years, however, interest in their work has resurged, and scholars and institutions are now acknowledging the significant role they played in shaping Scandinavian art.

Emma Ekwall (Swedish, 1838–1925)

Still Life with Apples, c. 1910

oil on canvas
signed E. Ekwall
unframed 33.5 × 46 cm (13.2 × 18.1 in)
framed 43.5 × 57 cm (17.1 × 22.4 in)

Harmony of Light, Color, and Form

Still Life with Apples is an exquisite still-life painting that captures a quiet moment of abundance and peace. On a humble wooden table lies a cluster of ripe apples, their rosy and golden skins aglow in gentle light. In the background, a bouquet of garden flowers emerges softly, adding a delicate burst of color without disturbing the scene’s tranquil balance. Emma Ekwall arranges fruit and flora with meticulous care, creating a harmonious composition that feels both rich in detail and serene in mood. The painterly qualities of light and shadow are on full display: a soft daylight caresses each apple, revealing subtle highlights on their smooth surfaces and casting delicate shadows that give them a warm, round presence. The blossoms behind the fruit are depicted with equal sensitivity – petals and leaves rendered in mild, harmonious hues that complement the apples and unite the foreground with the background. The overall effect is a balance of light, color, and form that invites the viewer to linger. In this stillness of a harvest scene, everyday objects are elevated to something poetic – apples and flowers become a quiet celebration of nature’s fleeting beauty, preserved on canvas with a timeless charm.

Emma Ekwall: A Trailblazing Woman Artist

Emma Ekwall was a pioneering figure in Swedish art during a time when female artists were few. Born in Småland in 1838, she pursued formal art training at the Royal Swedish Academy of Fine Arts in Stockholm. There, her talent shone so brightly that in 1871 she became the first woman ever to be awarded the Academy’s prestigious Royal Medal – an extraordinary achievement in the 19th century. Ekwall continued to refine her craft beyond Sweden, spending time in artistic hubs like Munich and Leipzig, which enriched her techniques and vision. Throughout her long career, she earned renown for her delicate and precise style. While she is especially celebrated for intimate portraits of children – capturing their innocence with tenderness – and for charming genre scenes of everyday life, Ekwall also had a special affinity for still-life subjects. She often painted flowers and fruit, infusing these compositions with the same warmth and care evident in her figure paintings. Her ability to transform simple, observed details of nature into captivating art is vividly realized in Still Life with Apples, reflecting both her technical skill and her heartfelt appreciation for natural beauty.

Ekwall’s significance as a female artist of her era cannot be overstated. She broke barriers for women in the arts, and her success paved the way for future generations of Scandinavian women artists. Today, Emma Ekwall’s works are treasured in prestigious collections and museums. Her paintings hang in Sweden’s Nationalmuseum in Stockholm and in regional art museums such as Norrköping and Kalmar, affirming her enduring legacy in the canon of Swedish art. Given the era in which she worked, a still life by a woman artist is a genuine rarity – and this adds a layer of meaning to Still Life with Apples. It is not only a beautiful painting of apples and flowers; it is also a cultural treasure, a tangible piece of history from a time when women’s contributions to art were just beginning to gain recognition. 

Still Life with Apples offers not just a glimpse of a tranquil harvest tableau, but also the opportunity to own a piece of art history. This lyrical still life, signed by Emma Ekwall’s hand, embodies the artistic mastery and pioneering spirit of one of Sweden’s noteworthy women artists. Its serene beauty, combined with its historical significance, makes it a truly special find for collectors who appreciate early 20th-century Scandinavian paintings. 

Emerik Stenberg (1873–1927) Sweden

The Seated Man

oil on canvas
unframed: 68 x 56 cm (26 3/4 x 22 in)
framed: 91 x 77 cm (35 7/8 x 30 1/4 in)

Authenticated on the back by his widow, Gully Stenberg

Essay:
This masterfully executed painting by Emerik Stenberg (1873–1927) captures an intimate and atmospheric moment. The composition features a seated man, engrossed in his daily chores, bathed in soft daylight filtering through a window. The subdued lighting and earthy tones create a striking contrast between light and shadow, showcasing Stenberg’s remarkable ability to depict mood and texture.

A Swedish painter, draftsman, and folklife illustrator, Emerik Stenberg was known for his evocative portraits and genre scenes. Trained at the Royal Academy of Fine Arts in Stockholm, he later became a professor of figure painting. Deeply inspired by the cultural traditions of Dalarna, he settled in Leksand, where he found endless artistic inspiration. His works are represented in major Swedish institutions, including the Nationalmuseum, Göteborgs konstmuseum, and Nordiska museet.

This painting exemplifies Stenberg’s gift for capturing the essence of rural life, with a keen eye for atmosphere and human expression. It is a testament to his mastery of light, form, and storytelling.

Primus Mortimer Pettersson (1895-1975) Sweden

The White Castle

oil on board
signed PMP
unframed: 18.5 x 21.5 cm (7 1/4 x 8 1/2 in)
framed: 28.5 x 32 cm (11 1/4 x 12 5/8 in)

Essay:

This small yet striking painting by Primus Mortimer Pettersson (18.5 x 21.5 cm) encapsulates the essence of his artistic vision—an imagined world where reality and dream blur into one. The castle, glowing in deep blues, warm ochres, and bright whites, appears both familiar and fantastical, a testament to Pettersson’s unique naïvist expressionism.

Primus Mortimer Pettersson, often referred to as "PMP" after his signature, was born in Östersund in 1895 and spent much of his life on Frösön. The son of a stove maker, he went to sea in 1909 and traveled widely before being institutionalized following a mental breakdown, likely caused by an accident onboard a ship. He spent most of his life as a patient at Frösö hospital, where he found solace in painting. His work was first exhibited in 1936, but it wasn't until the 1960s, during a surge of interest in naïve art, that he gained wider recognition. A major exhibition at Svensk-Franska Konstgalleriet in Stockholm in 1966 marked his artistic breakthrough.


Primus Mortimer Pettersson in his later years, holding a pipe.

Like many of Pettersson’s paintings, this castle is not based on reality but rather on a deeply personal, almost hallucinatory vision. His work often features monumental yet uninhabited structures—buildings with dark windows, abandoned streets, and surreal, theatrical lighting. The castle’s whimsical spires and strong geometric forms reflect his fascination with architecture, reminiscent of the grand mosques of Istanbul or the towering structures of distant lands he may have glimpsed during his travels.

There is an eerie silence in Pettersson’s work, a quality that makes his art deeply evocative and melancholic. He was a painter of inner landscapes, where memory and imagination merged into something uniquely his own. Despite his late success, thousands of his paintings were tragically destroyed to inflate the value of the remaining works.

Today, Pettersson’s art is represented in institutions such as Moderna Museet, Magasin III, and several regional Swedish museums, with the Region Jämtland Härjedalen still holding a large collection of his works. His legacy endures as that of an artist who, despite being confined to an institution, created a world far greater than the one he physically inhabited.

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.

Carl Ewald Lönngren (1839-1902)

Mother Washing with Children Nearby

oil on canvas laid on board
signed C E Lönngren
unframed: 34.5 x 30 cm (13.6 x 11.8 inches)
framed: 50 x 46 cm (19.7 x 18.1 inches)

Essay:
This delightful painting by Carl Ewald Lönngren captures a serene moment of rural life in late 19th-century Sweden. The scene shows a mother kneeling by a wash basin, surrounded by her children, all framed by a lush summer landscape. Apple trees laden with fruit and a charming red wooden house in the background evoke the simplicity and beauty of the Swedish countryside. Lönngren's meticulous brushwork and skillful use of light imbue the composition with warmth and a sense of nostalgia. The natural, everyday setting reflects the artist’s talent for portraying intimate moments that resonate with timeless charm.

Carl Ewald Lönngren was born in Stockholm in 1839 and studied at the Royal Academy of Fine Arts from 1873 to 1877. Known for his detailed and atmospheric depictions of Stockholm cityscapes, rural landscapes, and interiors, Lönngren’s work holds significant cultural and historical value. His paintings often balance human activity with the natural environment, showcasing his mastery of light and atmosphere.

Lönngren exhibited his works with the Stockholm Art Association and in cities such as Härnösand and Borås. Today, his art can be found in several prestigious collections, including the Nationalmuseum in Stockholm, Östergötlands Museum, Uppsala University Library, and Bornholm Art Museum in Denmark.

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

Dancer Tying Her Shoes, c. 1916
(Dansösen knyter sina skor, c.1916)

oil on canvas
unframed 102 x 80 cm

Provenance: 
Within the family Beer until today.

Exhibited: 
Göteborgs konsthall, 1944.
Konstgalleriet Borås, 1947.
Malmö museum, 1950.
Konstakademien, Stockholm, 1973.
Åmells Konsthandel  – En internationell kubist, Stockholm & London, 2008.
Millesgården – Dick Beer – Impressionist & Kubist, 2012.

Condition:
The painting remains unrestored and would benefit from evaluation by a professional conservator. Certain areas of the canvas require reinforcement to the stretcher to ensure its long-term stability. These considerations have been reflected in the artwork's pricing. Contact us for more information. 

Essay:
This striking painting by Swedish artist Dick Beer, titled Dancer Tying Her Shoes (Dansösen knyter sina skor), is considered one of his masterpieces. Created around 1916, the work depicts a woman seated on the edge of a bed, delicately tying her dance shoes. The scene is imbued with a sense of movement and emotional depth, evoking comparisons to the works of Degas, yet rendered in Beer’s distinctive style.

The painting invites the viewer to wonder about the identity of the woman and her story. Why is she half-dressed, preparing her shoes? Was she a muse, a lover, or perhaps an intimate part of Beer’s own life? 

Interestingly, Beer revisited this motif about two years later, creating a cubist interpretation of the same subject. This earlier version, however, captures a unique vulnerability and immediacy, standing as a testament to Beer’s versatility and emotional depth as an artist.

The significance of Dancer Tying Her Shoes is further highlighted by its inclusion in several prestigious exhibitions over the decades:

• Göteborgs Konsthall (1944)
• Konstgalleriet Borås (1947)
• Malmö Museum (1950)
• Konstakademien, Stockholm (1973)
• Åmells Konsthandel: En internationell kubist, Stockholm & London (2008)
• Millesgården: Dick Beer – Impressionist & Kubist (2012)

About Dick Beer (1893–1938)
Born in London, Dick Beer relocated to Sweden in 1907. He studied art at Althins Målarskola and the Royal Swedish Academy of Fine Arts, before moving to Paris in 1912. His artistic journey was interrupted by World War I, during which he served as a volunteer on the French side. After recovering from injuries at Château de Rochefort—a location shared with the renowned Fernand Léger—Beer became deeply influenced by cubism.

Beer’s works evolved over his career, oscillating between realism, expressionism, and cubism. While his cubist works faced harsh criticism early on, they later gained recognition as some of the finest examples of Swedish modernism. Today, Beer’s art is celebrated for its emotional depth and technical skill, with pieces held in major collections including the Nationalmuseum, Moderna Museet, and several regional museums in Sweden.

This particular painting is not only an exceptional example of Beer’s artistry but also a window into the personal and historical narratives that defined his short but impactful life.

Ture Ander (1881-1959) Sweden

A Bouquet of Flowers, 1936

oil on board
signed and dated Ture Ander 36
board dimensions 24,41 x 18,90 inches (62 x 48 cm)
frame 29,13 x 24,02 inches (74 x 61 cm)

Provenance: 
A private collection, Värmland, Sweden. 

Essay:
Nestled within the repertoire of Ture Ander (1881-1959), a member of the Racken Group, is "A Bouquet of Flowers, 1936," capturing the essence of nature's flowering beauty. The artwork offers a glimpse into a moment frozen in time—a moment where flowers in full bloom exude their ephemeral charm.

Anchoring the composition is a resplendent bouquet, housed in a striking blue glass vase, which stands gracefully upon a round wooden table. Ander's choice of blossoms is both eclectic and symbolic. From the towering Digitalis and gentle Poppy to the elegant Iris, passionate Snapdragons, rustic Cornflower, and the delicate Buttercup, each flower brings its unique aura to the bouquet. Collectively, they create an opulent tapestry of color, form, and texture, demonstrating the artist's profound understanding of botany and aesthetics.

The tradition of flower still life holds a revered place in art history. Such compositions, apart from their aesthetic appeal, often delve deeper, addressing themes of transience, beauty, and the cyclical nature of life. Ander's piece, too, is more than just a visual treat—it's an invitation to meditate on the fleeting beauty of existence, reminding us of the transient nature of life itself.

The painting comes with a beautiful dark brown frame. It is signed and dated '36,
We also have a digital photograph from 1936 taken in Ture Ander's studio, where this painting can be seen in the background, offering a glimpse into the artist's environment and creative process during that year.

Rikard Lindström (1882–1942)

Silent Interior

oil on canvas mounted on board
signed lower right
framed: 50 x 58 cm (19.69 x 22.83 inches)
unframed: 39 x 47 cm (visible image) (15.35 x 18.5 inches)

Essay:
This interior painting by Swedish artist Rikard Lindström depicts a quiet interior scene featuring a fireplace with a faintly glowing bed of embers. Light gently filters in from the adjacent room, casting soft shadows on the floor and creating a captivating atmosphere. The moody, dimly lit setting recalls the intimate interior scenes of Vilhelm Hammershøi, suggesting Lindström may have drawn inspiration from his work. Likely painted in the early 1900s during Lindström's time at the Royal Swedish Academy of Fine Arts, the piece reveals his deft handling of light and shadow, which lends the scene a serene, almost meditative quality.

Rikard Lindström, born in Stockholm on September 28, 1882, was a versatile artist known for his maritime landscapes, particularly of the Stockholm archipelago and the rugged coasts of Scandinavia. He studied at the Stockholm Academy and under the Danish artist Kristian Zahrtmann in Copenhagen, where he refined his skills in capturing light and atmosphere. Though he is most recognized for his seascapes, this interior painting showcases his broader range and mastery of mood.

Alfred Thörne (1850-1916) Sweden

Harvest Scene With Farmer and Scythe, 1886

oil on canvas
signed and dated Alf Thorne 1886
unframed 43.5 x 28.5 cm
framed 63 x 48 cm

Essay:
"Harvest Scene With Farmer and Scythe, 1886" is a captivating painting by the Swedish artist Alfred Thörne. Created during his travels through Germany, France, Italy, and Belgium between 1884 and 1886, this artwork reflects the artist's keen observation of rural life and his skill in capturing the essence of human labor.

The painting portrays a farmer in the midst of his daily work, bending over with a scythe in hand, cutting through the tall grass. The composition is intimate, focusing on the solitary figure of the man, who is dressed in typical work attire of the period: a white vest over a long-sleeved shirt and dark trousers. His posture suggests a moment of deep concentration and effort, a testament to the hard work and dedication of those who work the land.

The background of the painting is subtly rendered, with soft hues that do not distract from the central figure, allowing the viewer to fully appreciate the farmer's form and the texture of the grass. The light is diffused, giving the scene a tranquil yet serious atmosphere, which may indicate the early morning or late afternoon—the prime times for such labor.

Artist's Background: Alfred Thörne was born on April 24, 1850, in Horn, Östergötland, Sweden, and passed away on March 15, 1916, in Stockholm. He was the son of shoemaker Sven Petter Thörne and Inga Catrina Nilsdotter. Thörne studied under Per Daniel Holm at the Royal Swedish Academy of Fine Arts in Stockholm from 1874 to 1880, where he earned the royal medal in 1880 for his painting "Sommarmorgon."

Thörne became an agré (associate member) of the academy in 1881, and in 1884, he received a travel scholarship that allowed him to study in Germany, France, Italy, and Belgium. His works were exhibited in various prestigious venues, including the Stockholm exhibitions with Olof Hermelin in 1910, the Nordic Art and Industrial Exhibition in Copenhagen in 1888, and the World's Columbian Exposition in Chicago in 1893. His public works include an altarpiece for Vimmerby Church and numerous landscapes and portraits.

Thörne’s paintings is held in several Swedish museums, including the Nordic Museum, Nationalmuseum, Östergötlands Museum, Norrköpings Art Museum, Gävle Museum, and Sundsvall Museum.

Richard Willes Maddox (1813 - 1853, British)

Day Dreams

oil on wood panel
signed R Willes Maddox
unframed: 35 x 26 cm (13.78 x 10.24 inches)
framed: 50 x 40 cm (19.69 x 15.75 inches)

Essay:

"Day Dreams" is a captivating painting by the English artist Richard Willes Maddox. The artwork depicts a young woman seated thoughtfully on a blue wooden bench, set against a backdrop of lush greenery. Dressed in a meticulously detailed gown, the woman holds an open book in her hand, yet her gaze is distant, lost in contemplation. One cannot help but wonder about the thoughts and dreams occupying her mind.

The mastery of Maddox is evident in the intricate rendering of the fabric and the subtle play of light and shadow, bringing both the subject and her surroundings to life. The artist’s attention to the textures of the textile is particularly noteworthy, showcasing his skill in capturing the delicate folds and sheen of the material.

Artist’s Background: 
Richard Willes Maddox, also known as Willis Maddox, was born in Bath in 1813. His early career was notably supported by William Beckford the Younger of Fonthill, for whom Maddox created several sacred pieces, including "The Annunciation," "The Temptation," and "The Agony in the Garden." Maddox made his debut at the Royal Academy in 1844 with a still life painting that became part of Beckford's collection.

In 1847, he exhibited his first significant work, "Naomi, Ruth, and Orpah." Throughout his career, Maddox painted numerous portraits of notable individuals, including Halil Aga Riskalla and the Turkish ambassador Mehemet Ali. His success in portraying distinguished Turks led to an invitation to Constantinople, where he painted several portraits for the Sultan. Maddox's prolific career was tragically cut short when he succumbed to fever in Pera, near Constantinople, on June 26, 1853.

Legacy:
Maddox left behind a rich legacy of portraits and sacred art, with numerous examples housed in Bath and Bristol. His works continue to be appreciated for their detailed realism and emotional depth, as exemplified by "Day Dreams" 

Provenance:
A Swedish private collection.

Compare with: 

Richard Willes Maddox "A lady at her toilet (1852)"
sold at Dreweatts Auctions 2023 for 17.500 GBP

Albert Theodor Gellerstedt (1836-1914) Sweden

The Garden at Sickelsjö, 1883 (Sickelsjö Trädgård, 1883)
 
water color on paper
signed and dated A T.G. 8/6 83   
unframed c. 17 x 27 cm (approx. 6.69 x 10.63 inches)
framed 28 x 38 cm (11.02 x 14.96 inches)

Provenance:
A Swedish private collection. 

Essay:

We are delighted to present a stunning watercolor by the Swedish artist Albert Theodor Gellerstedt. This artwork, titled "Sickelsjö Trädgård" was created on June 8, 1883. The painting beautifully captures a scene from Sickelsjö Manor, an estate located in Arboga Municipality, Västmanland County, near Lake Hjälmaren in the historical Götlunda parish.

Albert Theodor Gellerstedt was a multi-talented Swedish architect, engineer, poet, painter, and graphic artist. Born in Säterbo parish, Västmanland, he pursued his studies in architecture at the Royal Institute of Technology in Stockholm, where he later became a professor. Gellerstedt's artistic talents were encouraged by his mentor, Fredrik Wilhelm Scholander, leading him to explore watercolor painting extensively.

Gellerstedt's artistic journey included travels to Denmark, Germany, France, Italy, and Sicily, where he immersed himself in modern architecture and ancient art, gathering inspiration and honing his skills. As an engineer, he collaborated with Gustaf von Heidenstam on designing lighthouses and residential buildings across Sweden.

As an artist, Gellerstedt produced around 1700 watercolors and 600 etchings between 1860 and 1910. His works often depicted architectural views and cityscapes, capturing the essence of Stockholm and its changing landscape. His dedication to watercolor painting earned him the Egron Lundgren Medal in 1887.

Gellerstedt's works are represented in several prestigious institutions, including the Nationalmuseum, Göteborgs konstmuseum, the Royal Library, the Nordic Museum, Kalmar County Museum, Kalmar Art Museum, the Royal Academy of Arts, Norrköping Art Museum, Bohusläns Museum, Gothenburg City Museum, Malmö Museum, and Helsingborg Museum.

Robert Högfeldt (1894-1986)

The Fiddler's Dance

watercolor on paper
signed R.Högfeldt
unframed c. c. 24 x 33 cm (approximately 9.45 x 12.99 inches)
framed 35 x 44 cm (13.78 x 17.32 inches)

Essay:

We are delighted to offer a captivating watercolor painting by the artist Robert Högfeldt. This charming piece features a group of joyful figures, affectionately referred to as "gubbar" by Högfeldt himself. The scene captures the essence of Högfeldt's whimsical style, portraying these gleeful characters, who resemble pixies or trolls, dancing merrily in a lush, green meadow.

The painting exudes a sense of playfulness and delight, with the figures adorned in simple white dresses, their faces lit with infectious smiles. The setting is rich with nature's beauty, highlighted by vibrant flowers and a backdrop of dense foliage. One can almost hear the cheerful tune being played by the lone fiddler, further enhancing the painting's lively atmosphere.

The Artist:

Born in 1894 in Eindhoven, Netherlands, Robert Högfeldt moved to Sweden, where he would leave an indelible mark on the world of art. His work is characterized by a humorous and often fantastical portrayal of everyday scenes, infused with a deep understanding of human nature and emotion. Högfeldt's "gubbar" became a signature element of his art, embodying the artist's unique blend of humor and whimsy.

Högfeldt drew inspiration from several sources, including the works of Pieter Brueghel. Like Brueghel, Högfeldt's paintings often depicted scenes filled with lively and expressive characters, each telling their own story. Despite the humorous exterior, his works also carried a depth of insight into human behavior and social commentary.

Throughout his career, Högfeldt gained considerable acclaim, not just in Sweden but across Europe. His illustrations for books and fairy tales further cemented his popularity, making his art accessible to a broader audience. Even today, his work continues to be celebrated for its originality, charm, and the unique perspective it offers on the human condition.

This watercolor is a wonderful example of Högfeldt's artistry, showcasing his ability to blend humor, emotion, and a keen observation of life into a single frame. It is a delightful addition to any art collection, bringing a touch of joy and whimsy into the home.

Recently exhibitions: 
In 2021, Åmells in Stockholm had an exhibition dedicated to the works of Robert Högfeldt.

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. 

Allan Österlind (1855-1938) Swedish/ French

Sevilla, 1893

watercolour on paper
signed and dated Allan Österlind Sivilla 1893
the motif is c. 44 x 29,5 cm
frame 63 x 47.5 cm

Essay:

Allan Österlind, a Swedish artist who became a well known figure in French art circles, beautifully captures the essence of Andalusian culture in his 1893 watercolor painting, "Sevilla." Born to Per August Österlind and Johanna Petronella Skoog, Österlind embarked on his artistic journey at the Konstakademin in Stockholm and later honed his skills at the École des Beaux-Arts in Paris. Originally training as a sculptor under Pierre-Jules Cavelier, Österlind transitioned to painting, a medium through which he found profound expression and acclaim.

Allan Österlind's "Sevilla" captures a compelling glimpse into traditional Spanish life, reflecting the artist's time in Spain in 1893. The watercolour features a group of four figures dressed in cultural attire, exuding a sense of daily life and communal interaction in Sevilla. A mature woman, adorned in a blue and white traditional dress, sits prominently in the foreground, her face marked by an expression of thoughtful engagement. Next to her stands a younger woman in a vibrant red shawl, playing a guitar, adding a musical element that suggests a typical leisure scene.

Two other figures, a young girl and a man in a traditional hat, complete the group, contributing to the narrative of a community scene. The man's attire and posture hint at a story of rural or market life, possibly after a day's work. The backdrop and the simple, yet expressive use of watercolor enhance the rustic and warm feel of the scene, suggesting the simplicity and the vibrancy of life in Sevilla during the late 19th century.

This painting not only showcases Österlind's adeptness with watercolor but also reflects his deep engagement with the places he visited. His ability to capture the essence of Andalusian culture, with its vivid colors and dynamic expressions, speaks to his broader artistic journeys.

Österlind's life was marked by a constant exploration of new environments and artistic techniques. After settling in France in 1877, he became an active participant in the Parisian art scene, frequently exhibiting at the Paris Salon and becoming associated with the Société Nationale des Beaux-Arts. His paintings, often inspired by his travels and the people he encountered, are celebrated for their sensitivity and vibrant portrayal of everyday life.

Nils Forsberg (1842-1934) Sweden

Oil Sketch for the Painting "Death of a Hero", c. 1885-88

oil on wood panel
stamp signed
unframed 32.5 x 41 cm
framed 42 x 50 cm

Provenance: 
Sold through Nils Forsberg's estate.

Essay:
The artwork presented here is an oil sketch by the Swedish painter Nils Forsberg, a study for his famous painting "Death of a Hero, 1888", today in Nationalmuseum Stockholm art collection. The final panting earning him the gold medal at the Salon in Paris.
The sketch is an intimate glimpse into Forsberg's meticulous process and the raw emotion that underpins the final painting.

"Death of a Hero" is a narrative frozen in time, inspired by the harrowing experiences and sights Forsberg encountered during the Franco-Prussian War. Depicted is a man kneeling and leaning over the bed of a deceased hero, encapsulating the ultimate sacrifice and the weight of loss in war. Forsberg's study is divided into three sections, each elaborating on the theme and adding depth to the narrative, allowing the viewer to witness the evolution of the motif.

Born in Riseberga, Scania, on 17 December 1842, Nils Forsberg's journey from a peasant's son to a Parisian artist is a story of determination and passion. His early life, marked by farming and an apprenticeship in house painting, eventually led him to Paris in 1867, thanks to a government stipend. Studying under Léon Bonnat, Forsberg honed his craft, later contributing significantly to historical painting with a focus on realism and social commentary.

The oil sketch here for sale is not just an artwork but a piece of history, offering insights into Forsberg's creative process. 

Death of a Hero 1888, Nationalmuseum Stockholm 

ARVID JACOBSSON (JACOBSON) (1881–1966) SWEDEN

ST ERIKSBRON SEEN FROM STADSHAGEN, 1908

signerad och daterad arvid Jacobson 1908
mixed media
framed 46 x 40.5
unframed c. 34 x 28.5 cm

Essay:

This enchanting painting by Arvid Jacobsson (Jacobson)(1881–1966), executed in 1908, offers a captivating view of St. Eriksbron as seen from Stadshagen on Kungsholmen. Jacobsson has beautifully captured the essence of early 20th-century Stockholm, a period of significant urban development and transformation.

The focal point of this artwork is the old St. Eriksbron, a bridge that was inaugurated in 1906, featuring its distinctive arches. This bridge not only serves as a crucial link between Kungsholmen and Vasastaden but also marks the boundary between Barnhusviken and Karlbergssjön. The original bridge, a combination of truss and arch structures spanning a length of 226.8 meters, was pivotal in connecting the disjointed parts of Sankt Eriksgatan.



Stadshagen, the area from which this view is depicted, is situated in the northwest part of Kungsholmen and has a rich history dating back to the 1600s. Initially serving as grazing land for the city, the area evolved over centuries from agricultural fields to a hub for industrial activities, including a cotton mill and a sugar refinery in the 19th century. By the late 19th century, due to housing shortages, it became a makeshift home for the city's poor, transforming in the 20th century into a residential area with one of Stockholm's oldest allotment garden associations, Karlbergs-Bro koloniförening, established in 1909.

St. Eriksbron itself has undergone significant changes over the years. The original structure was replaced in the mid-1930s by a steel girder bridge, retaining only four of its original seven spans visible today. This transformation was part of Stockholm's urban development, accommodating the city's first two-story bridge in 1944 to include a lower level for the future subway. The bridge once carried the major European route E4, emphasizing its importance in Stockholm's infrastructure.

Jacobsson's painting not only captures a moment in Stockholm's urban development but also preserves the memory of a landscape on the brink of transformation. The juxtaposition of the natural beauty of Stadshagen with the industrial and architectural advancements embodied by St. Eriksbron offers a unique glimpse into Stockholm's past, making this artwork a significant piece of cultural heritage.

Ulf Linde (1929-2013) Sweden

Seen from Behind 

gouache on board
signed U.L and dedicated to "Berit"
unframed 8.27 x 5.12 inches (21 x 13 cm)
framed 11.81 x 8.46 inches (30 x 21.5 cm)

Literature:
"Ulf Linde - Essays from a Lifetime in the Arts" from 2023 is included in the purchase. 

Essay:
This gouache painting by Ulf Linde, a multifaceted Swedish figure, presents a unique portrayal of a woman seen from behind, set against a blue and white striped background. The artwork, likely from the 1970s or 1980s, reflects Linde's admiration for René Magritte, whose influence can be discerned in the mysterious and thought-provoking silhouette. The absence of facial features draws the viewer's attention to the form and posture, perhaps challenging us to consider the unseen aspects of identity and presence.

Ulf Linde (1929–2013) was a renowned Swedish art critic, jazz musician, author, museum director, professor, composer, and member of the prestigious Swedish Academy. His father was Harald Linde, an engineer, and his mother Karin Krouthén. Linde's career spanned various realms of art and culture; he was first married to Bertha Lundgren and, after her passing, to Nina Öhman, who succeeded him as the head art curator of the Thielska Gallery.

Linde's membership in the Royal Swedish Academy of Fine Arts from 1963 and the Swedish Academy from 1977 marked his prominent role in the arts. He succeeded Eyvind Johnson in seat number 11 of the Swedish Academy and directed the Thielska Gallery for 20 years.

As an art critic for Dagens Nyheter from 1956 to 1968, Linde was recognized for his radical views on art, emphasizing the viewer's participatory role. His book "Spejare" ('Scouts') from 1960, was a collection of articles on the "informal" artists and was instrumental in triggering Sweden's "great art debate" of 1962. Lind's profound interest in Marcel Duchamp led him to create replicas of Duchamp's works, some of which were signed by Duchamp himself and are now housed in the Moderna Museet in Stockholm.

After leaving Dagens Nyheter in 1968, Linde continued to shape Swedish art discourse as a professor of modern art theory at the Royal Institute of Art and as an interim director at the Moderna Museet. His legacy includes over a hundred temporary exhibitions at the Thielska Gallery, and his "micro-essays" are compiled in the book "Presentationer" ('Presentations').

This particular gouache is accompanied by an exquisite pine frame, adding to its allure. It is dedicated to someone named "Berit," possibly someone of significance in Linde's life. The artwork, through its simplicity and evocative use of color and silhouette, embodies a magnetic charm that is difficult to articulate but deeply felt, much like the enigmatic works of Duchamp and Magritte that Linde admired so much.

Ferdinand Fagerlin (1825-1907) Sweden

The Old Stone Stairway

oil on board
signed Ferd Fagerlin
unframed 24 x 18 cm

Provenance: 
Probably in the collection of Helena Göhle, Norrköping (listed in Konst i svenska hem, second edition, p. 599, as “Gallerfönster,” 25 × 17 cm); later in a Swedish private collection.

Exhibited: 
Probably  Liljevalchs Konsthall, Stockholm, 1936, The Düsseldorf School exhibition, catalogue p. 23, no. 90 — Sunlit Attic Room.

Essay:
This oil painting called The Old Stone Stairway by Ferdinand Fagerlin offers an intimate glimpse into a quiet interior space, where the stillness of the scene is punctuated by the soft daylight filtering through a window. Measuring a modest 24 x 18 cm, the painting captures the subtle play of light on the staircase and walls, evoking a serene atmosphere.

Ferdinand Fagerlin was born in 1825 in Stockholm and passed away in 1907 in Düsseldorf. He was a notable Swedish artist. His genre paintings often depicted Dutch fishermen, but he was also renowned for his dramatic portrayals of people and interiors. Typically associated with the Düsseldorf school of painting, Fagerlin's journey in art began as a shipbuilder's apprentice before he transitioned to studying at the Royal Swedish Academy of Arts. His military service was followed by further artistic development in Düsseldorf and Paris under the mentorship of Thomas Couture. Fagerlin settled in Düsseldorf, where he cultivated his craft and reputation. His legacy is enshrined in several prestigious institutions, including Nationalmuseum in Stockholm, Kalmar Art Museum, Norrköping's Art Museum, and Gothenburg's Art Museum. This piece reflects Fagerlin's keen eye for detail and his ability to convey emotion through the depiction of everyday scenes.

Bernhard Oscarsson (1894-1977) Swedish

View over Strandvägen, Stockholm

oil on canvas
signed and dated Oscarsson 1933
unframed 54 x 65 cm
framed 70 x 80 cm

Essay:
This painting by Bernhard Oscarsson (1894-1977) is a captivating visual narrative of Stockholm's serene beauty. Oscarsson, a student of Caleb Althin's painting school and the Royal Swedish Academy of Fine Arts in Stockholm, honed his craft extensively through his European travels in Spain, Italy, France, the Netherlands, and Germany. This particular piece is painted from Blasieholmen, behind the National Museum, with his gaze set towards Strandvägen.

Oscarsson's canvas is a symphony of colors, with each brushstroke contributing to the overall harmony of the scene. The foreground is graced with the tranquil paths of Blasieholmen, lined with welcoming benches and a solitary lamp post standing as a silent sentinel. A solitary figure walks towards the bustling Strandvägen, perhaps lost in thought or simply enjoying the scenic view. The rich foliage on the left provides a stark contrast to the open skies, where soft clouds dance in the light of the setting sun.

The painting's palette is reminiscent of the transitional phase between late impressionism and early modernism, capturing the ephemeral quality of light and the subtle nuances of urban life. It embodies a sense of peace and reflection amidst the daily hum of a growing city. Oscarsson's work is more than a mere depiction of a location; it is a portal to the soul of Stockholm, offering a timeless glimpse into the city's heart through the eyes of an artist who both loved and understood his subject deeply.

Same view today, 90 years later: 

Ingeborg Westfelt-Eggertz (1855-1936) Sweden

Lost in Thoughts, before 1890

oil on canvas laid in masonite
painted c. 1883-1889
signed I Westfelt, St.Nazair (Bretagne)
unframed 23 x 21 cm
framed 39 x 36 cm

Condition:
Very good condition with bright and clear colors. 

Essay:
We are delighted to offer a unique and evocative piece by the Swedish artist Ingeborg Westfelt-Eggertz. This small oil sketch captures a moment in time, portraying a young man seated amidst the grass. Dressed in a vest and hat, the young boy appears to be in his late teens or early twenties. His gaze is directed away, captured in contemplation or perhaps lost in distant thoughts. Painted with swift strokes, the artwork embodies spontaneity, presenting an unfinished portrait of the young man surrounded by rapidly rendered greenery.

There's a distinct charm to unfinished artworks and oil sketches like this one. Such paintings offer a rare insight into the artist's creative process, almost serving as a window into their thoughts and initial intentions. At many times a sketch can be more interesting than a finished painting, as it reveals the raw, unfiltered essence of the artist's vision.

The sketch is signed and the place of its creation is inscribed on the front: Saint Nazaire, Bretagne, painted around 1883-1889.

Born in Stockholm on 17th May 1855, Ingeborg Aurora Westfelt-Eggertz was a pivotal figure in the Swedish art world. Daughter to chamberlain Carl Peter Westfelt and Aurora Charlotta Löthman, she later married the editor August Emil Eggertz in 1893. Her artistic journey began at the Technical School and then led her to the Royal Academy of Fine Arts in Stockholm from 1873 to 1880. Further honing her craft, she studied under Collin and Courtois in Paris by 1883. While in Paris, she opened a school for young women from high society in 1887 and contributed drawings to the Delagrave publishing firm.

Returning to Stockholm in 1890, she co-established a painting school for female students with Elisabeth Keyser. Throughout her life, she shifted residences, living in places such as Visby, Landskrona, and finally settling in Gothenburg by 1903. No matter where she resided, Westfelt-Eggertz remained committed to educating and establishing painting schools for women alongside her personal creations. Her oeuvre consists mainly of genre scenes, figure depictions, and portraits, often in pastel. Several works from her Parisian period found homes with North and South American collectors.

Her accomplishments include awards such as a gold medal in oil painting in Arcachon in 1888, a silver medal in Versailles in 1889, and a Mention Honorable in Evreux. Her legacy is immortalized in esteemed institutions like the Göteborg Art Museum, Hallands Art Museum, Bohuslän Museum in Uddevalla, and the National Museum in Stockholm.