Produkte

Anton Genberg (1862–1939, Swedish)

Winter Sunset with Snow-Covered Pines, 1890

signed and dated lower right
oil on canvas
unframed 55 × 35 cm (21.7 × 13.8 in)
framed 61 × 41 cm (24 × 16.1 in)

Provenance:
Swedish private collection

Essay
Painted in 1890, Winter Sunset with Snow-Covered Pines presents a serene and atmospheric Nordic winter landscape, capturing the fleeting beauty of dusk as sunlight fades over a frozen expanse. The composition features a stand of snow-laden trees at the left, silhouetted against a glowing sky in shades of warm peach, lilac, and cool blue. The frozen lake or river in the foreground is painted with broad, rhythmic strokes of pale mauve, pink, and icy blue, reflecting the subtle interplay of ambient light across the snow-covered terrain. A solitary pine anchors the scene, its dark silhouette providing a compositional counterweight to the luminous open space at right.

Genberg’s painting exemplifies his early approach to winter motifs, characterized by direct observation and a keen sensitivity to atmosphere. The layered sky, softly streaked with clouds, glows with the last rays of sunlight, forming a radiant backdrop for the subdued palette of the frozen landscape. The effect is both poetic and precise a study in contrasts between warm and cold, light and shadow, stillness and silent transformation.

As one of Sweden’s foremost landscape painters of the turn of the century, Genberg was widely celebrated for his depictions of winter and mountainous scenery. Educated at the Royal Swedish Academy of Fine Arts in Stockholm, he devoted much of his career to portraying the northern landscape in all its seasonal variations. His technical precision and emotional restraint brought him numerous exhibitions and critical praise, and he became a member of the Academy in 1922. While later works would often depict the dramatic peaks of Jämtland and Lapland, this intimate canvas reveals Genberg’s lifelong fascination with the tonal subtleties and quiet grandeur of the Swedish countryside under snow.

In this painting, light is not merely a visual element but the emotional core. The shifting hues of the sunset lend a sense of transition and reverence, turning a simple winter scene into a lyrical meditation on nature’s silent rhythms.

Condition Report:
Very good condition overall. Recently cleaned and conserved by a professional art conservator. Bright and clear colors. Some fine craquelure visible in the paint surface, typical for works of this age. The frame shows old patina, with minor flaws and old repairs.

Arthur Joseph Meadows (1843–1907)

The Maas below Dort – Sunrise, 1884 

oil on canvas
signed and dated lower right
title and signature inscribed on reverse
unframed: 25.5 x 36 cm (10 x 14 ⅛ in)
framed: 41 x 52 cm (16 ⅛ x 20 ½ in)

Provenance: 
A Swedish private collection. 

Condition:
Recently restored by our professional art conservator. The canvas is intact and unlined, with only minor craquelure. Colors remain vivid, and the delicate glazes of the sky and water are well-preserved. Comes with a newly produced gilded frame. 


A Golden Dawn on the Maas
In this refined marine painting, Arthur Joseph Meadows captures a tranquil sunrise on the river Maas just below the historic city of Dordrecht (“Dort”). The rising sun spreads a golden expanse of sky and water over the scene, suffusing the early morning atmosphere with a luminous glow. A cluster of sailing vessels and local boats drifts calmly on the glassy river, their silhouettes gently animated by the first light of day. On the distant horizon, the ancient spires and rooftops of Dordrecht catch the dawn’s radiance, anchoring the composition in a sense of place and history. The foreground suggests quiet harbor activity: figures tend to boats and cargo in the cool morning air, beginning the day’s work with unhurried rhythm. Meadows’ brushwork and delicate handling of light evoke a peaceful realism – the sky’s warm hues and the river’s mirrored reflections create an almost poetic serenity. This harmonious scene not only celebrates the daily life of a Dutch waterway at dawn, but also harkens back to the great Dutch Golden Age images of Dordrecht bathed in morning light, recalling Aelbert Cuyp’s masterful evocations of sunrise over the Maas. The overall impression is one of elegant calm and luminous atmosphere, inviting the viewer into a moment when nature and commerce meet in gentle balance at daybreak.

The Artist’s Vision and Context
Arthur Joseph Meadows (1843–1907) was a distinguished British marine painter renowned for his atmospheric seascapes and harbor scenes. A leading member of a prolific family of artists, Meadows was trained by his father, the painter James Meadows Sr., and from a young age he traveled widely in search of picturesque coastal vistas. He painted harbors and rivers across England, France, Holland, and even the Mediterranean, displaying a technical appreciation for accurate coastal views instilled in him by his upbringing. Critically influenced by the famed marine artist Clarkson Stanfield in matters of composition and drama, Meadows nonetheless developed his own signature style marked by a soft, subtle palette and keen eye for local detail. He excelled at capturing the nuances of light and weather – here evident in the pearly clouds and gentle haze of sunrise – which lend emotional depth and “peaceful realism” to his work.

By the 1880s, when The Maas below Dort – Sunrise was painted, Meadows was at the height of his powers. He exhibited regularly in London; he showed works at the Royal Academy (1863–1872) and at the British Institution in the 1860s, earning recognition for his evocative maritime subjects. Victorian collectors admired his paintings for their scenic grandeur and atmospheric nuance, and Meadows enjoyed great success in his lifetime, selling widely to private patrons. Indeed, he is “considered the best of the Meadows family of marine artists,” celebrated for seascapes that combine accurate rendering with poetic ambiance. The Maas below Dort – Sunrise perfectly illustrates why Arthur Joseph Meadows remains popular among discerning collectors: it is rich in painterly atmosphere, faithfully yet artfully depicting a serene moment of 19th-century harbor life. The painting’s subject—an idyllic Dutch river scene at dawn—also reflects the artist’s international range and feeds the timeless appeal of maritime art, where natural light and human activity meet on tranquil waters. 

Arthur Percy (1886-1976) Sweden 

Scandinavian Winter Landscape, 1907

oil on canvas
signed and dated A.Carlson-Percy 07
canvas dimensions 33.5 x 51.5 cm
frame 44.5 x 62 cm

Inscription on a board that the canvas was previous mounted on:Vy över gamla kyrkan, sedd från "Villa Bo" (today mounted on a new canvas stretcher without the board) 

Essay:
Introducing "Scandinavian Winter Landscape, 1907" a mesmerizing painting by the artist Arthur Percy Carlsson, later known as Arthur C:son Percy (1886-1976). Born in Vickleby, Öland, Percy's artistic journey was one defined by unwavering determination and exceptional talent.

This landscape painting presents a winter landscape, likely set during the early spring season. The canvas portrays a vast, snow-filled meadow, blanketed in pristine white. Above, the sky comes alive in a captivating pointillist style, with hues of blue, turquoise, and yellow forming delicate, scattered dots, while small clouds grace the horizon.

The scene unfolds with an enchanting backdrop of a distant forest, its trees adorned with a touch of winter's charm. Between the enchanting forest and the expansive meadow, a few humble houses grace the canvas. An inscription on the back suggests that these charming structures could be old church buildings, adding an intriguing historical dimension to the artwork. The inscription reads "Vy över gamla kyrkan, sedd från 'Villa Bo'," translating to "View of the old church, seen from 'Villa Bo'."

Painted with meticulous attention to detail and a captivating use of colors, this artwork transports viewers into a serene world of tranquility and beauty. The warm, subtle glow of the spring light envelops the landscape, evoking a sense of calm and wonder, as if capturing a fleeting moment of natural grace.

Beyond the captivating painting, the artist Arthur Percy, was a prodigious talent who left an indelible mark on both the world of fine arts and design. At the age of 17, Percy began his artistic journey as an assistant to a decorative painter in Stockholm. Despite facing financial constraints, his passion and talent earned him a place at the esteemed Konstnärsförbundets skola (Artists' Association School).

Percy's artistic pursuits continued to blossom, and he became an integral part of the influential artist group "De unga" or "1909 års män," whose groundbreaking 1909 exhibition marked a significant step towards Swedish modernism. Eager to expand his artistic horizons, Percy and some of his fellow students embarked on a journey to Paris in 1908, where they were immersed in a vibrant art scene, encountering renowned masters such as Henri Matisse, Gauguin, Bracque, and Picasso. The late Cezanne also served as a significant source of inspiration for Percy.

While his accomplishments in design were commendable, Arthur Percy always considered himself first and foremost a painter. He ardently devoted the majority of his time to his passion for the fine arts, producing many work that captured the essence of nature and the spirit of his time.

This painting "Scandinavian Winter Landscape, 1907," serves as a testament to Arthur Percy's extraordinary talent and artistic vision. Its enchanting portrayal of a winter wonderland perfectly encapsulates the essence of his artistic prowess.

Provenance: 
A private collection Linköping, Sweden. 

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.

August Alvén (1865–1906) Sweden

Evening Landscape with River and Farmhouses, 1898

signed and dated lower left
oil on canvas
unframed 28 × 52.5 cm (11 × 20.7 in)
framed 54 × 68 cm (21.3 × 26.8 in)

Provenance:
A Swedish private collection. 

Essay:
Evening Landscape with River and Farmhouses by August Alvén captures a moment of profound quiet in the Swedish countryside just after sunset. The glowing sky transitions from warm apricot to soft grey as the last light of day recedes. A row of silhouetted buildings stretches across the horizon, their darkened forms nestled into the landscape like distant memories. A single bare tree stands in the foreground, its linear branches etched against the fading light. Below, the river mirrors the sky’s remaining brightness, its stillness broken only by two birds gliding slowly across the surface.

Alvén composes the canvas in horizontal bands of tone and form, emphasising the flat expanse of land, sky, and water. The low, wide format gives the viewer a sense of vastness and openness, while the limited palette evokes the subtle beauty of evening light. The colour transitions are handled with great restraint: the dark fields and rooftops dissolve into one another, while the glowing sky and its reflection lend the scene a delicate luminosity. There is no overt narrative, no active presence, only a gentle, natural rhythm as the landscape yields to night. The sense of stillness is nearly total, yet it is not empty; it is full of atmosphere and quiet tension.

Painted at the end of the 19th century, this work aligns with the turn in Scandinavian art toward mood and introspection, often expressed through depictions of twilight. While many of Alvén’s contemporaries focused on grand gestures or heroic national themes, this painting favours restraint and simplicity. The absence of figures intensifies the sense of solitude, yet the presence of human habitation, clustered farmhouses and a cultivated field, keeps the image rooted in everyday rural life. The birds and bare tree are the only clear details in the foreground, reminding us of nature’s cycles and the delicate transition from light to darkness.

Alvén’s contribution to Swedish art remains relatively unknown, yet this work demonstrates a refined sensitivity to light, tone, and place. His brushwork is confident but understated, his colour harmonies precise but not mannered. The painting reflects both a personal and a cultural meditation on the passing of time, on endings, and on the quiet dignity of the Swedish landscape at dusk.

Condition report:
Good condition, with fine, age-consistent craquelure. Original frame with minor flaws included. 

August Berg (1885–1924), Sweden

Saxvalsklumpen and Lake Anjan from Anjeskutan, circa 1910–1918

signed
dry pastel on paper
unframed 55 × 74 cm (21.7 × 29.1 in)
framed 63 × 82 cm (24.8 × 32.3 in)

Provenance:
Private collection, Sweden.

Gallery owner’s comment:
This is a work that lies particularly close to my heart. I am originally from Östersund and grew up just a couple of hours’ drive from Anjeskutan. It is a landscape that feels like home to me. I believe August Berg has truly captured the grandeur of the Jämtland mountains.

Essay:
This signed dry pastel landscape depicts Saxvallsklumpen and Anjan from Anjeskutan, a view deeply rooted in the mountain scenery of western Jämtland. Seen from an elevated vantage point on Anjeskutan, the composition opens across Lake Anjan toward the rounded massif of Saxvallsklumpen, capturing the expansive spatial character of the fjäll landscape.

August Berg, born in Ström and active in Östersund, was an artist whose work was closely shaped by the landscapes of Jämtland. Trained at the Royal Swedish Academy of Fine Arts in Stockholm and further influenced by study travel to Paris, he combined academic grounding with a personal sensitivity to regional motifs. In this work, Berg’s use of pastel allows for a direct and atmospheric rendering, where broad strokes and a restrained palette of cool blues, muted greens, and earthy tones convey light, distance, and quiet monumentality.

The drawing exemplifies Berg’s lyrical approach to landscape, offering both a specific topographical view and a refined interpretation of the Jämtland mountains. As a signed work by an artist whose production was cut short by his early death, it represents a compelling and evocative example of early twentieth century Scandinavian landscape art.

Condition report:
The work is in good condition. The paper shows slight waviness, and minor age-related wear consistent with the medium.
If the work is to be shipped, the glass can be replaced with plexiglas for safer transport. 

August Hagborg (1852-1921) Sweden

Quiet Contemplation, c. 1910-20

watercolor on paper
unframed 13.4 x 9.8 inches (34 x 25 cm)
framed 17.7 x 14.2 inches (45 x 36 cm)

Provenance:
A Swedish private collection.

Essay:
The artwork we present is a rare watercolor by the distinguished Swedish artist August Hagborg, painted in the later part of his career between 1910 and 1920. This watercolour is a departure from Hagborg's often-seen beach scenes with mussel pickers and instead offers a glimpse into a serene, pastoral moment. The scene is set against a timber house, with a man and a woman standing alongside, their gazes directed away from the viewer, which invites contemplation about the story behind their distant stares.

Watercolors by Hagborg are rare, making this piece particularly special. Its fine details suggest a mastery of the medium, likely honed over the years of his extensive career. A written letter from Göteborgs Konstmuseum, dated to the 1940s, suggests a later date for this piece.

August Hagborg, born on May 26, 1852, in Gothenburg and passed away on April 30, 1921, in Paris, was a renowned figure in the art world. His education at the Royal Swedish Academy of Arts in Stockholm from 1871 to 1874 placed him among peers who would rise to prominence, such as Carl Larsson and Anders Zorn. Moving to Paris in the fall of 1875, Hagborg initially painted within the costume genre before finding his niche in coastal landscapes that garnered him accolades and recognition.

Hagborg's success was punctuated by his 1879 painting "Low Water at the English Channel," which won a medal and secured his position as an artist of note. He continued to paint scenes from the Swedish coasts during his summer visits and later from Dalarna after 1914. His travels outside France were limited, but he did visit Devon, England, in 1884 and Italy later in life.

Honoured with a knighthood in the Order of Vasa in 1883 and as a Commander Second Class of the Order of the North Star in 1908, Hagborg's work is represented in major museums such as the Nationalmuseum in Stockholm and Musée d'Orsay in Paris.

Axel Axelson (1854–1892) Sweden

A Courtyard in Venice, 1879

signed and dated upper left “Venezia Maj 79”
oil on canvas
unframed 59 × 36.5 cm (23.2 × 14.4 in)
framed 70 × 48 cm (27.6 × 18.9 in)

Provenance:
Private collection

Condition report:
Minor surface wear. Craquelure consistent with age. Otherwise in good condition.

Essay:
This painting, signed and dated “Venezia Maj 79”, belongs to the early and formative phase of Axel Axelson’s career and constitutes a rare and significant example of his work from Venice. Executed during his travels in Italy, the work reflects a direct engagement with the city at a moment preceding the more widely recognised influx of Scandinavian painters in the early 1880s.

Axelson was born in Stockholm in 1854 and studied at the Royal Swedish Academy of Fine Arts between 1872 and 1876. Following his academic training, he undertook study journeys across Europe, including Italy, France and Germany. Venice appears in his documented itinerary already in the mid 1870s, and the present work confirms a renewed or continued presence in the city in May 1879. This places Axelson among the earlier Scandinavian artists working there, preceding the better known Venetian campaigns of Carl Skånberg, Wilhelm von Gegerfelt and Georg Pauli, who were active in the city from 1881 onwards.

The composition departs markedly from the grand views traditionally associated with Venice. Instead of monumental architecture or celebrated landmarks, Axelson focuses on a modest courtyard, rendered with a quiet observational intensity. The narrow vertical format reinforces the sense of enclosure, guiding the viewer upward along weathered walls, shuttered windows and irregular architectural details. The surface is handled with a restrained yet sensitive brushwork, combining structural clarity with painterly nuance. Subtle variations in tone suggest the effects of light filtering into the confined space, while the muted palette emphasizes the material presence of plaster, brick and wood.

This attention to overlooked urban spaces aligns Axelson with a broader shift in late nineteenth century painting, in which artists increasingly turned away from idealized or theatrical motifs toward intimate and everyday subjects. Venice at this time functioned as an international artistic centre, attracting painters who sought new approaches to the depiction of the city. In September 1879, only a few months after the date inscribed on this work, James McNeill Whistler arrived in Venice, where he would produce a celebrated series of etchings and pastels focusing on similarly understated motifs. Although no documented contact between Axelson and Whistler has been established, their shared interest in the quieter, less monumental aspects of Venice reflects a parallel artistic sensibility.

Within Axelson’s oeuvre, which is often associated with architectural subjects and watercolours from his travels, this painting stands out as an early and highly resolved oil composition. It demonstrates his capacity to transform a seemingly insignificant motif into a work of considerable atmosphere and structural coherence. The absence of anecdotal detail and the emphasis on spatial relationships lend the painting a contemplative quality, inviting prolonged observation.

Axelson’s career was relatively brief, and his life ended prematurely in Lund in 1892 at the age of thirty seven. His surviving works therefore offer valuable insight into a generation of Scandinavian artists navigating between academic training and the emerging modern sensibility of the late nineteenth century. A Courtyard in Venice is an important testament to this transition, combining disciplined observation with a quietly modern approach to subject and composition.

Bibliography:
Svenskt biografiskt lexikon, entry on Carl Axel Hampus Axelson
Svenskt porträttgalleri, vol. XX, Stockholm 1901
Svenska konstnärer. Biografisk handbok, Malmö
Nationalmuseum, Stockholm, artist records
Svenskt biografiskt lexikon, entries on Carl Skånberg, Wilhelm von Gegerfelt, Georg Pauli
Grieve, A., Whistler’s Venice, London 2000
Denker, E., Whistler and His Circle in Venice, Washington 2003

Axel Lindman (1848–1930) Sweden

Evening Sun, View of Visby, c. 1896

oil on canvas
35 x 28 cm (13 3/4 x 11 in)
45.5 x 38.5 cm (17 7/8 x 15 1/8 in)

Provenance:
The artist’s estate.
Fritzes Kungl. Hovbokhandel, Stockholm.

Essay:
This evocative evening view of Visby by Axel Lindman captures Visby in the warm, fading light of the setting sun. Rendered with atmospheric sensitivity, the silhouette of Visby’s medieval skyline—its church towers and city walls—emerges softly through a hazy glow. The path in the foreground, leading the viewer's eye toward the distant city, invites a contemplative gaze into the past.

Lindman painted a nearly identical composition in daylight the same year, 1896. That version was sold at Stockholms Auktionsverk on December 4, 1995 (lot 107).

About the Artist
Axel Lindman was born in Öregrund in 1848 and studied at the Royal Swedish Academy of Fine Arts from 1872 to 1875, followed by several formative years in France and Italy. He became a member of the Academy in 1897 and exhibited with both the Opponenterna and the Konstnärsförbundet. Early in his career, Lindman was known for refined studies of rural France and for intimate coastal and garden scenes from Gotland. After settling in Stockholm, he turned his attention to cityscapes and the surrounding landscapes, developing a lyrical, light-infused style.

Lindman’s work is held in several major Swedish collections, including the Nationalmuseum, the Gothenburg Museum of Art, the Norrköping Art Museum, and the Royal Academy of Fine Arts.

About the Setting
Visby, the medieval town on the island of Gotland, is a UNESCO World Heritage Site known for its remarkably preserved city wall and Gothic church ruins. Long a source of inspiration for Swedish artists, the town's historical ambiance and unique light conditions have drawn painters since the 19th century. Lindman's interpretation of Visby stands out for its mood of quiet solemnity and the poetic play of light and shadow.