Produits

Oskar Bergman (1879-1963) Sweden

Vaxholmsfjärden (Vaxholm Bay), 1932

oil on masonite board
signed and dated OSKAR BERGMAN 1932 
unframed 40.5 × 55.5 cm (15.9 × 21.9 in) 
framed 52 × 67 cm (20.5 × 26.4 in) 

Essay:
A dramatic breakthrough of sunlight illuminates the waters of Vaxholm Bay (Vaxholmsfjärden) in this 1932 oil painting by Swedish artist Oskar Bergman. The composition captures the ethereal quality of the Stockholm archipelago, with the islands of Rågholmen to the left and Hästholmen to the right emerging in silhouette beneath a vivid, cloud-split sky. The luminous reflection on the rippling water and the radiant sun piercing through the clouds are central to the painting’s atmospheric power. Vaxholm, often described as the gateway to the Stockholm archipelago, was a recurring subject in Bergman’s landscape work and exemplifies his deep engagement with Sweden’s coastal environments.

Bergman’s portrayal of Vaxholmsfjärden reflects his lifelong fascination with nature’s changing light and seasonal transitions. He frequently returned to the Stockholm archipelago in search of motifs, often painting from the same locations at different times of year. His mastery of light is evident in this painting’s balanced interplay between natural drama and quiet luminosity, where every detail – from the shifting water to the filtered sunlight – is rendered with exceptional precision.

Oskar Bergman (1879–1963) was a Swedish painter known for his detailed and lyrical landscapes. Although largely self-taught, he developed a refined naturalistic style that remained consistent throughout his career, even as other movements took hold in Swedish art. He worked extensively in both watercolor and oil, and his paintings are typically devoid of human figures, allowing unspoiled nature to take center stage. Bergman was especially drawn to the forests, gardens, and islands of central Sweden, including the archipelago areas around Stockholm.

Vaxholm and its surrounding waters appear in several of Bergman’s known works, including other oil and watercolor compositions painted in the early 1930s. These repeated explorations reveal his dedication to capturing the unique atmosphere and fleeting light effects of the region. 

Provenance: German private collection.

Condition Report: The painting is in very good condition. It underwent professional conservation in 2025 by Sonia Leon in Stockholm. A previously discolored varnish layer was carefully removed, revealing the original brightness of the palette and the fine brushwork that had been partially obscured. The surface has been stabilized and the work is now restored to excellent visual integrity.

Oskar Bergman (Stockholm 1879–1963 Saltsjöbaden)

“Skogskanten” (Winter Landscape with Spruce Trees)

signed "Oskar Bergman" in pencil
drypoint etching
image size: 19.5 x 29.5 cm (7 5/8 x 11 5/8 in)
paper size: 30 x 40 cm (11 3/4 x 15 3/4 in)
unframed
created in 1915

Exhibited:
Stockholm, The Swedish General Art Association, Catalogue of Paintings, Drawings, and Etchings by Oskar Bergman, January 17–February 14, 1916, listed under 1915, no. 167 as “Skogskanten.”

Printed in a maximum of 50 copies.

Otto Lindberg (1880-1955) Swedish

Landscape from the North of Sweden

oil on canvas
singed and dated Otto Lindberg 1926
canvas 75 x 58 cm (29.52 x 22.83 inches)
frame 85 x 69 cm (33.56 x 27.16 inches)

Provenance: 
A private collection Orléans, France.

Otto Lindberg was a Swedish artist born in Söderhamn in 1880. Lindberg was known for his landscapes and marine paintings. He studied at the Royal Academy of Fine Arts in Stockholm and later traveled to Germany and Italy to continue his studies.

Lindberg's style can be described as a form of post-impressionism, with a personal touch and a focus on light and color. He often used a strong and vibrant color palette and aimed to capture the atmosphere and light of nature in his works.

This beautiful painting by Lindberg, depicting a landscape of mountains in shades of brown, red, blue, and green, with a lake in the foreground painted with short brushstrokes of blue, pink, and yellow. The painting is set under a lovely summer sky with warm, inviting light.

Paul Ehrenberg (1876–1949)

Sleeping Boy, 1895

Red chalk on paper
sheet 38 × 52 cm (14.96 × 20.47 inches)
framed 61 × 74 cm (24.02 × 29.13 inches)
signed and dated twice

Essay:
This red chalk drawing, executed in 1895, depicts a reclining male youth from two different viewpoints on a single sheet. Each pose presents the same model in a sleeping posture, rendered with delicate line work and subtle shading. The warm, rust-toned chalk – a medium traditionally favored for academic figure studies, lends the image a soft tonal quality and emphasizes the contours of the figure. Ehrenberg’s precise yet fluid draftsmanship is evident in the careful definition of the young man’s form and the naturalistic play of light across his body. Notably, the work is signed and dated twice, once below each figure, an unusual practice that suggests the artist considered each view a finished study in its own right.

Executed in 1895, when Ehrenberg was only nineteen years old, this study likely dates from his period of academic training at the Dresden Art Academy. As he was studying under instructors such as Leon Pohle and Friedrich Preller the Younger during this time, their influence is evident in the drawing’s solid academic technique and its emphasis on anatomical accuracy. Ehrenberg was born into an artistic family, the son of history painter Carl Ehrenberg, which likely contributed to his strong foundational drawing skills. Although he later became known for Impressionist portraits, still lifes, landscapes, and animal paintings, this early figure study highlights his classical training and keen observation of the human form. Viewed in the context of Ehrenberg’s oeuvre, Sleeping Boy serves as an intimate document of the artist’s formative years and his grounding in 19th-century academic art practice.