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Adriaen van Stalbemt (Stalbempt) 1580-1662

Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham”

According to the Old Testament, God put Abraham’s faith to the test by commanding him to sacrifice his only son Isaac. Just in the nick of time, an angel of the Lord appeared, forestalling the terrible deed and delivering Abraham from his despair.

Certificate: Dr. Klaus Ertz, signed and dated Lingen 22 December 2020.
The certificate is written in German, below we have published part of the text translated into English:
Is known to me in the original. After thorough examination of this painting, I am convinced that it was painted by the Flemish painter Adriaen van Stalbemt.
The state of preservation of this painting can be described as very good.
Adriaen van Stalbemt, next to Jan Brueghel the Younger probably the most important successor of Jan Brueghel the Elder, took up many of Brueghel's themes and developed them further. Like many of his contemporaries, Stalbemt followed the example of this great role model. At the age of 29 he converted to the Catholic faith. It goes without saying that a painter in Antwerp had to be familiar with the themes of the Christian religion, since it was necessary to fulfill the wishes of his customers. The design of the spatial composition, reminiscent of the early David Vinckboons, which features juxtaposed landscape sections - on the left the dark foreground, on the right the background illuminated by the sun - indicates that this is an early painting, painted during the period from 1605 to 1610. In this painting, Stalbemt reveals himself to be a great artist who was able to skillfully combine different landscape formations such as forest, river and mountains at an early stage of his career. In interlacing all of these landscape parts into one perspective, this composition is very typical of Adriaen van Stalbemt's work.

Literature: Ertz/Nitze-Ertz, Adriaen van Stalbemt, Kritischer Katalog der Gemälde, Zeichnungen und Druckgraphik Lingen 2018.

oil on copper
picture size 8.07 x 9.96 inches (20.5 x 25.3 cm)
frame 14.17 x 15.94 inches (36 x 40.5 cm)
note: Important changes in the composition have been found with an IR camera, please contact us if you want to see the result from those images.

Provenance: Private collection Bavaria (Germany)

Agnes McIntyre Croxford (exh 1897-1910) British

Friends

oil on canvas
signed A McIntyreCroxford
painted c. 1900
canvas dimensions 16 x 24 inches (41 x 61 cm)
frame 20.86 x 29 inches (53 x 74 cm)

Provenance:
Sotheby's London, lot 1547, 1998;
Christie's London lot 193, Auction 8406;
Stockholms Auktionsverk, lot 1373;
Private Collection Stockholm

Albert Larsson  (1869-1952) Sweden

Twilight Landscape with Windmill and Church, 1891

oil on canvas
signed and dated a.L 91
unframed 31 x 48 cm (12.20 x 18.90 inches)
framed 38 x 54 cm (14.96 x 21.26 inches ​)

Provenance:
A Swedish private collection.

Essay:
"Twilight Landscape with Windmill and Church" is a captivating work by Swedish artist Albert Larsson, painted in 1891 when Larsson was 22 years old. The painting captures a landscape steeped in the quietude of dusk, with a sky ablaze in hues of red and orange, signalling the end of the day. The silhouettes of trees are rendered with astonishing detail against the twilight sky, showcasing Larsson's early mastery of light and shadow.

Dominating the pastoral scene is a traditional windmill, its blades stilled against the sky, alongside the spire of a church that pierces the horizon. These structures, together with the meticulously painted trees, are testaments to the human presence within the natural world, suggesting a harmony between the two.

A notable feature is the small water-filled furrow in the field, which catches the fading light of the sky, creating a pathway of reflection leading the eye through the composition. This detail highlights Larsson's skill in using light to draw attention to elements within his paintings.

Albert Larsson, born on November 4, 1869, in Malmö and passing on August 31, 1952, in Lund, was an artist deeply influenced by his education in Copenhagen at the Art Academy and later at Peder Severin Krøyer's painting school. Settling in Malmö from 1900, Larsson co-founded the Skånska konstnärslaget (Scanian Artists’ Association) and Skånes konstförening (Scanian Art Association). His role as a commissioner for the association's exhibitions across the region was pivotal.

Larsson's oeuvre is most cherished for its mood landscapes, which often capture the ethereal qualities of light over the Scandinavian terrain. His works, including "Moonlight over the Plain" at the Gothenburg Museum of Art and "A Farm at Dusk" at the Malmö Art Museum, exhibit his enduring fascination with the poetic interplay of light and atmosphere. "Twilight Landscape with Windmill and Church" stands as an early indication of his profound ability to evoke mood and place through his art, making it a prized piece for collectors of Scandinavian landscapes.

Albert Liedbeck (1881 - 1955) Sweden

Landscape With Blue Mountains

oil on canvas
canvas dimensions 22.04 x 30.70 inches (56 x 78 cm)
frame 24.40 x 31.67 inches (62 x 83 cm)
signed Alb. Liedbeck

Carl Albert Liedbeck, was born in 1881 in Värmland, Sweden, and died in 1955 in Stockholm.
Liedbeck was a Swedish painter and conservator. He was married to Esther Bachman.
After studying art in Stockholm and a few years in Paris, he worked as a painter and conservator.
He had solo exhibitions in Karlstad, Gothenburg and Linköping in 1942 and in Malmö in 1943.
His art consists of portraits, still lifes and landscapes.

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.

Alfred Bergström (1869–1930) Sweden

Coastal Landscape

signed lower right Alfr Berg
oil on canvas
unframed 63 × 81 cm (24.8 × 31.9 in)
framed 78 × 97 cm (30.7 × 38.2 in)

Provenance:
Estate of the artist (Sterbhus Bergström)

Essay:
This expansive coastal landscape by Alfred Bergström presents a luminous and windswept shoreline, where sea, sky, and land are unified through a sensitive and dynamic treatment of light. The composition is structured around the meeting of water and rocky terrain, with the horizon set low to allow the sky to dominate the scene. It is within this vast expanse of atmosphere that the artist’s particular strengths are most clearly revealed.

Bergström was a central figure in Swedish landscape painting during the late nineteenth and early twentieth centuries. He studied at the Royal Swedish Academy of Arts and later established himself as both a painter and a professor, influencing a generation of younger artists. His work is often associated with the Swedish west coast, where he returned repeatedly to study the changing conditions of light and weather. Through these observations, he developed a style that combines careful structure with a heightened sensitivity to atmosphere.

In the present work, the sky becomes the principal carrier of expression. Large cumulus clouds rise and disperse across a bright blue field, their forms articulated through swift and confident brushstrokes. The paint is handled with a notable immediacy, suggesting that the scene was captured in direct response to nature. Highlights along the edges of the clouds create a shimmering effect, reinforcing the sensation of sunlight breaking through and illuminating the landscape below.

This interplay of light continues across the surface of the water, where reflections are rendered with broken strokes that convey both movement and brilliance. The shoreline in the foreground is treated more sparingly, with patches of earth and stone indicated through economical touches of colour. These areas anchor the composition while allowing the eye to move freely toward the distant horizon.

Bergström’s approach reflects the broader shift toward plein air painting that shaped Scandinavian art during this period. While grounded in academic training, his technique reveals an openness to more immediate and spontaneous methods, aligned with developments in French and Nordic painting alike. The visible brushwork and emphasis on atmospheric effects suggest a painter deeply engaged with the sensory experience of the landscape rather than its precise topographical description.

The painting also conveys a distinct sense of place. The rugged shoreline, scattered rocks, and low vegetation evoke the character of the Swedish coast, yet the treatment remains universal in its appeal. Bergström does not seek to describe a specific location in detail, but rather to capture the transient qualities of light and weather that define the coastal environment.

Condition report:
The painting is in very good condition. It has recently been professionally restored by a conservator. The surface is well preserved with fresh and clear colours. The frame is newly made with a gilded finish.

Sources:
Svenskt konstnärslexikon, Allhems Förlag
Nationalmuseum, Stockholm, collection database
Nordisk familjebok
General literature on Swedish landscape painting around 1900

Alfred Bergström (1869–1930) Sweden

Le Havre

signed and inscribed, certificate a tergo
oil on panel
unframed 19.5 × 26.5 cm (7.7 × 10.4 in)
framed 31 × 38 cm (12.2 × 15 in)

Exhibited:
Konstakademiens Minnesutställning, 1932

Provenance:
Estate of the artist (Sterbhus Bergström)

Essay:
This refined harbour scene from Le Havre presents a quiet yet vivid impression of a working port along the northern coast of France. Alfred Bergström constructs the composition from a low vantage point at the water’s edge, where a stone pier extends diagonally into the picture space. The viewer is drawn along this line toward a group of small figures gathered at the end of the pier, while beyond them the open water stretches toward a distant horizon.

The surface of the sea is treated with restrained and fluid brushwork, capturing the soft movement of the water under a calm sky. Subtle tonal shifts of blue, green, and grey convey the reflective quality of the harbour, while small vessels rest quietly in the distance. The composition is animated by the vertical accent of a mast to the right, its rigging cutting through the sky and introducing a sense of structure within the otherwise horizontal arrangement.

Bergström’s handling of light is particularly notable. The scene is suffused with a gentle, diffused illumination that suggests either early morning or late afternoon. Rather than emphasizing dramatic contrasts, the artist allows light to settle evenly across the composition, unifying sea, sky, and architecture. The stone pier is rendered with broad, confident strokes, and the rocky shoreline in the foreground adds texture and weight to the lower part of the image.

The presence of figures along the pier introduces a human dimension to the scene, though they remain secondary to the overall atmosphere. Their small scale reinforces the expansive quality of the harbour and the surrounding landscape. Bergström avoids anecdotal detail, instead focusing on the relationship between built structures, water, and light.

Alfred Bergström was one of the most significant Swedish landscape painters of his generation. Trained at the Royal Swedish Academy of Fine Arts, he later spent extended periods abroad, particularly in France and Italy. His exposure to international artistic developments, including French plein air painting, informed his approach to landscape and urban motifs. Bergström became especially known for his atmospheric views of Stockholm, but his travels also led him to coastal cities such as Le Havre, where maritime life provided rich subject matter.

In works such as this one, Bergström demonstrates a mature and confident painterly language. The composition is economical yet carefully structured, and the brushwork remains both controlled and expressive. The painting captures not only the physical appearance of the harbour but also its quiet rhythm and atmosphere.

 

Condition report:
The painting has recently been professionally cleaned and presents in fine condition. The colours appear clear and well preserved, and the paint surface remains stable. The work is presented in a frame manufactured by Hultbergs ramar.