WORKS ON PAPER

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.

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.

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.

Christian Berg (1893–1976) Sweden

Beneath the Birch

signed Chr. Berg
pencil and watercolor on board
38 x 29.5 cm
frame dimensions 54 x 45 cm
the frame with UV protected glass is included

Essay:
We are proud to present an exquisite drawing by the renowned artist Christian Berg (1893-1976), executed around the 1920s. This captivating artwork portrays a landscape, showcasing the artist's remarkable talent and attention to detail.

The focal point of the composition rests on the left, where a solitary leafless birch tree gracefully extends its branches across the entire expanse of the sky. The artist's meticulous rendering of the intricate branch structure is truly awe-inspiring, displaying an impressive level of detail and precision.

To the right of the birch tree, some water comes into view and behind the birch tree, several spruce trees emerge, their forms delicately captured with green watercolor strokes. The surrounding ground, adorned with a lush green wash, seamlessly integrates with the natural environment of the trees.

In the background, the artist employs the soft hues of watercolor to depict distant, misty mountains. The bluish tones create a sense of depth, enhancing the overall serenity and vastness of the scene.

"My sculptural work is an expression of what captivates and engages me, whether it's a unique flower, a tree's form, a stone, or a seashell fragment on the beach that one desires to turn into poetry, or transforming a figure into a monumental stance, where the interplay of proportions seeks to evoke a sense of gravity and religiosity."
- Christian Berg

Christian Berg, primarily known for his later abstract sculptures, demonstrates his versatility an artist through this exceptional landscape drawing. While his abstract sculptures have gained significant acclaim and are highly sought after by collectors, this earlier work showcases his skillful mastery of capturing the essence of nature with astonishing precision.

The drawing's meticulous details and the artist's profound understanding of the beauty of the natural world make it a true masterpiece. It serves as a testament to Christian Berg's artistic range and his ability to evoke emotion and connection through his diverse body of work.

Carl Samuel Graffman (1801–1862) Sweden

Eleven drawings of various subjects mounted on a printed sheet

Signed: "Originalarbete af C. Graffman" (Original work by C. Graffman)
Various techniques and sizes
Sheet size: 200 x 357 mm

Literature:
S.-Å. Nilsson, Fragment av ett liv. En biografi över landskapsmålaren Carl Samuel Graffman, p. 101, illustrated in full color

Exhibited:
Stockholm, Prins Eugens Waldemarsudde, Carl Samuel Graffman, March 3–May 28, 2006

Essay:
Drawn at Danviken Hospital between 1841 and 1842.

Swedish art of the late 19th and early 20th centuries would appear significantly diminished if the works of artists who struggled with mental illness were excluded. Without making distinctions between “ill” and “healthy,” it can be said that artists such as C.F. Hill and Ernst Josephson produced works during their illnesses that are regarded as indispensable. To this group can be added two relatively unknown artists outside academic circles: Johan Fredrik Hörling (1718–1786) and Carl Samuel Graffman. Both suffered from mental illness early in their lives, which explains the relatively limited number of works created during their mentally stable periods.

Pivotal to the understanding of Graffman as an artist is Gunnar Jungmarker’s article, Carl Samuel Graffman and His Disease Drawings, published in Nationalmusei årsbok in 1935. In 1966, Karin Melander wrote an unpublished dissertation titled Carl Samuel Graffman: A Forgotten 19th-Century Artist. In 1995, Professor Sten-Åke Nilsson published an article about Graffman in Artes titled Drawn After Nature: Carl Samuel Graffman. Graffman’s art, however, only gained public recognition in 2005, when Nilsson published the first comprehensive monograph on him, Fragment of a Life: A Biography of the Landscape Painter Carl Samuel Graffman. This was followed the same year by an exhibition at Prins Eugens Waldemarsudde. In 2008, Nilsson further explored Graffman’s life in an article for Biblis titled The Eagle in a Cage, where he presented newly discovered documents about Graffman’s life.

Carl Samuel Graffman began his career as a Romantic landscape painter and graphic artist. During his time at the Royal Swedish Academy of Fine Arts, he was a student of Professor Carl Johan Fahlcrantz, Sweden's leading landscape painter at the time. Fahlcrantz regarded Graffman as his most talented student. In the summer and autumn of 1830, Graffman traveled to Scotland, which at the time was celebrated as the romantic land of Ossian and Sir Walter Scott. Graffman visited Scott at his home in Abbotsford, likely through Fahlcrantz’s recommendation. Guided by Scott’s advice, Graffman traveled extensively across Scotland, visiting historical and scenic sites. He was particularly captivated by the wild landscapes of the Highlands. This journey inspired Skottska Vuer (Scottish Views), a series of lithographs by Carl Johan Billmark based on Graffman’s sketches, accompanied by text from Thure Vensjö and published in 1833. The work became widely popular and solidified Graffman’s reputation. He also produced oil paintings based on his Scottish sketches, which were exhibited at the Royal Academy of Fine Arts. Several of these were purchased by King Karl XIV Johan and are now housed at Rosendal Castle in Stockholm.

In 1834, Graffman received a three-year travel grant to study in France. However, towards the end of his stay, in 1836, he experienced a severe mental breakdown and was admitted to Charenton Mental Hospital near Paris for a year. After his recovery, he returned to Sweden in 1837, arriving in Stockholm during a politically volatile period.

In 1838, tensions peaked during the Crusenstolpe Affair, which sparked riots and unrest in Stockholm. Graffman, displaying a growing interest in political discourse, became embroiled in these turbulent events. At a breakfast gathering in Castenhoff’s cellar, he reportedly expressed anti-Russian sentiments and brandished pistols, declaring his intent to assassinate the visiting Russian emperor. This outburst led to his arrest, during which he fell into a state of extreme rage and was subsequently committed to Danviken Mental Hospital in July 1838.

During his confinement at Danviken, Graffman resumed artistic activity for a brief period between 1841 and 1842. Approximately 200 of his drawings survive from this time, the majority now housed in museum collections. These works consist largely of landscape motifs, portraits of fellow patients and staff, and imaginative depictions inspired by his memories. Many drawings were created on scraps of paper, letter fragments, or repurposed book pages. Most are executed in miniature format, with some small enough to fit as many as twenty pieces on a single folio sheet. However, Graffman also produced more elaborate studies of trees on larger paper. His landscapes, often based on the views from the windows of Danviken, range from realistic depictions to imagined rural scenes with dramatic mountains, forests, and rapids. These works, infused with a brooding darkness, anticipate Marcus Larsson’s atmospheric depictions of nature from the 1850s.

After 23 years at Danviken, Graffman was transferred to the newly established Konradsberg Hospital in 1861. He died there the following year, leaving behind a body of work that reflects his isolation, imagination, and resilience. Graffman’s drawings from Danviken stand out as deeply personal and original contributions to Swedish art history, transcending conventional frameworks and providing a poignant insight into his life and struggles.

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.