Produits

Carl Johansson (1863–1944) Sweden

Puerto de la Cruz, Tenerife, 1894

oil on board
signed Carl Johansson Puerto Orotava Tenerifa -94
unframed 21.5 x 33 cm (8 1/2 x 13 in)
framed 32 x 43 cm (12 5/8 x 16 7/8 in)

Condition:
Gracefully aged over more than a century, the surface shows a fine pattern of vertical craquelure consistent with its age. The colors remain bright and clear, and the painting is ready to hang.

Essay:
This small oil painting on board (21.5 x 33 cm) is a rare early work by Swedish landscape painter Carl Johansson (1863–1944). Painted during the artist’s 1894 travels to the Canary Islands, it depicts a sunlit coastal view in Puerto de la Orotava, Tenerife (present-day Puerto de la Cruz). 

Johansson’s approach in this tropical scene is markedly different from the style of his later, more celebrated Nordic landscapes, making this painting a true rarity in his oeuvre. Just a few years before, Johansson had been in Paris absorbing the innovations of the French Impressionists, and their influence shines through here. His brushwork is loose and confident, capturing the intense Atlantic light and lush vegetation of Tenerife with lively, immediate strokes. The color palette is unusually luminous: warm golden tones of sun and earth are offset by dashes of cool blues and violets — a clear nod to the techniques of Monet and Pissarro that inspired the young artist. The overall impression is one of vivid atmosphere and spontaneity, as Johansson revels in the exotic scenery far from his native Sweden.

Such early works from Johansson’s journeys abroad are exceedingly scarce. Decades after this piece was painted, the Swedish Artists’ Association (Svenska Konstnärernas Förening) held a retrospective of Johansson’s work in Stockholm in 1941, and notably included a handful of paintings from his 1894 Tenerife sojourn. The exhibition catalogue listed pieces titled “Strand” (“Beach”) and “Hamnen i Puerto-Orotava” (“Harbor in Puerto Orotava”) among those on display. It remains uncertain whether the present painting was one of the works exhibited, but its subject and inscription align suggestively with those entries, hinting that this could indeed be one of the rare Tenerife scenes that so captivated audiences at the retrospective.

For the collector or connoisseur, this delightful Puerto Orotava painting offers a unique glimpse into a formative chapter of Carl Johansson’s artistic journey. It stands as both a beautiful, sunlit coastal composition in its own right and a fascinating historical artifact — an early testament to Johansson’s exploratory spirit and his embrace of Impressionist color and light.

Carl Johansson (1863 - 1944) Sweden

Sturehäll, 1892

oil on canvas
signed Carl Johansson Sturehäll 1892 
unframed 30 x 45 cm
framed 40 x 54.5 cm
hand crafted black frame by Christer Björkman is included.

Provenance: 
Bukowskis, April 1990, lot 47, "Insjövik med vass" (1892), hammer price 7.135 €

Essay:

This painting called Sturehäll by Carl Johansson, crafted in 1892 when the artist was 29 years old, offers a captivating glimpse of Sturehäll, near Sturehov in Norsborg. This piece, stemming from a critical period just after Johansson's return from Grez-sur-Loing—a place renowned for inspiring Swedish artists in the late 19th century—showcases the tranquil yet dynamic essence of nature. At first glance, the scene conveys a serene lakeside adorned with reeds along the shore of Lake Mälaren, but a closer examination reveals a more dramatic natural depiction. Johansson's rapid and confident brushwork breathes life into the reeds, while his technique of incising with the reverse end of the brush adds a layer of drama and texture, enhancing the painting's depth through impasto.

This early work is particularly rare and fascinating due to the significant evolution of Johansson's style over his career. In his later years, Johansson sought to recollect his early pieces, indicative of their importance in his artistic journey. The painting not only reflects Johansson's mastery over landscape but also his innovative approach to capturing the essence of his subject matter.

Johansson, born in Härnösand, drew inspiration from various landscapes, including Northern Sweden, France, Tenerife, and Italy, painting them with the sun positioned at 30 degrees north-northwest. His artistic talent was nurtured under the guidance of Edvard Perséus and at the Royal Swedish Academy of Arts. Johansson's journey through art was marked by his association with the Opponents and his exploration of Impressionism, influenced by luminaries such as Claude Monet and Camille Pissarro.

This piece not only embodies Johansson's transition into a more impressionistic style but also serves as a testament to his enduring connection to the Swedish landscape, particularly the pastoral and historic setting of Sturehov. The manor, built in 1781 in the Gustavian style, and its surrounding parklands and agricultural landscapes, offer a window into Sweden's rich cultural heritage, echoed in Johansson's painting.

Old map shows Sturehov and Sturehäll. 

Carl Johansson (1863-1944) Sweden

Summer Landscape with Road, 1889

oil on canvas
signed and dated Carl Johansson . 89 .
unframed 27 x 39 cm
framed 41,5 x 53 cm

Provenance:
The previous owner bought it in 1988 at Åmells Stockholm for 106.000 SEK. 

Literature: 
Åmells exhibition catalogue, 1988, nr 5, "Sommarlandskap med väg"

Essay:
Carl Johansson's "Summer Landscape with Road" is an exquisite landscape that encapsulates the serene beauty of the Swedish countryside. Painted in 1889, the same year Johansson showcased his work at the Exposition Universelle in Paris, one can't help but wonder if this very painting was among those displayed at the fair.

Exposition Universelle de 1889

Johansson's early works, such as this one, are exceedingly rare, making "Summer Landscape with Road" not only a visual delight but also a collector's gem. The painting's magnificent gold frame enhances the bright, vivid colours of the small-format artwork, creating an impactful presence.

Carl Johansson's blue impressionistic depictions of Northern Sweden earned him the nickname "Ultramarine Johansson", and his paintings are celebrated in prestigious collections, including the Nationalmuseum in Stockholm, Kalmar Art Museum, and the municipality of Hudiksvall.

Winter Landscape 1890, mixed media, Nationalmuseum, inv no NMH 196/1963. 

Carl Johansson (1863–1944) Sweden

"Motiv från Ramsele" (View from Ramsele), 1938

signed and dated lower right Carl Johansson 1938
oil on panel
unframed 23 × 46 cm (9.1 × 18.1 in)
framed 32 × 55 cm (12.6 × 21.7 in)

Provenance:
Swedish private collection

Condition report:
The painting appears to be in fine condition with well preserved colors and surface.

Essay:
This landscape from 1938 depicts the countryside around Ramsele in Ångermanland, northern Sweden. A winding country road leads the viewer into the composition, passing open fields and scattered trees before reaching the distant blue hills that characterize the region. The broad sky occupies much of the picture surface, animated by luminous clouds rendered in subtle shades of blue, pink and violet.

Carl Johansson was among the foremost Swedish landscape painters of his generation. Educated at the Royal Swedish Academy of Fine Arts in Stockholm, he later traveled extensively through Europe, studying in France, Germany, Italy and Spain. Despite these international experiences, the Swedish landscape remained the central theme of his art. His paintings are admired for their ability to combine direct observation with a highly personal interpretation of light, atmosphere and color.

The landscape around Ramsele offered precisely the qualities that appealed to Johansson. Situated in the valley of the Ångerman River and surrounded by rolling forested hills, the area is known for its expansive views and distinctive blue distances. In the present work, these receding blue forms provide depth and structure, while also contributing to the characteristic Nordic atmosphere that permeates the painting.

The work displays many of the qualities associated with Johansson’s later production. The surface is constructed from short, confident brushstrokes that create a vibrant mosaic of color. Rather than blending tones smoothly, he allows individual strokes of blue, green, lavender and warm pink to remain visible, creating a shimmering effect across the entire composition. This technique gives the painting both energy and luminosity, even in passages of shadow.

Particularly striking is the treatment of the sky. The clouds are built through rhythmic strokes of cool and warm color, transforming a simple evening landscape into a study of light and atmosphere. The result is a scene that feels both immediate and timeless, capturing not only a specific place but also the sensation of a northern summer evening.

Carl Johansson (1863–1944) Sweden

Winter Landscape (1928)

oil on canvas
unframed 38 × 55 cm (14.96 × 21.65 in)
framed 48 × 65.5 cm (18.90 × 25.79 in)
signed and dated “Carl Johansson -28”.

Essay:
In the foreground, a rustic wooden fence and a stand of evergreens emerge from soft, pristine drifts, their dark green needles and the artist’s characteristic ultramarine shadows contrasting sharply against the expanse of white. To the right, the delicate silhouette of a bare birch tree extends its frost-laced branches into a pale winter sky. Beyond, a snow-blanketed valley opens up, where a few humble farm buildings barely peek through the covering of snow, suggesting the gentle presence of human life subdued by the season’s hush. Distant hills rise along the horizon in tones of blue and violet, receding into atmospheric haze and imparting a tremendous sense of depth and cold clarity. Johansson’s brushwork is confident and impressionistic, rather than delineating every detail, he captures the fleeting effects of light on snow and sky. The palette is restrained yet rich in nuance: crisp blues and soft lilacs articulate the long winter shadows, while subtle pink and golden tints may warm the sky at the vanishing sun. The atmosphere is one of serene stillness and chill, as if the air itself is motionless in the frigid afternoon light. Through this composition, Johansson masterfully conveys both the grand solitude and delicate poetry of the Nordic winter.

Carl Johansson (1863–1944) was a Swedish landscape painter celebrated for his ability to capture the austere beauty of his country’s northern scenery. Trained at the Royal Academy of Fine Arts in Stockholm, he initially worked in a traditional academic style, but exposure to the French Impressionists Claude Monet and Camille Pissarro proved transformative, shifting his approach toward a looser brushwork and a keener interest in fleeting natural light. In 1885 Johansson aligned himself with the progressive Opponenterna (“Opponents”) group, a breakaway movement of artists advocating for modern ideas, which led to his departure from the conservative Academy. Over subsequent decades, he developed a distinctive Nordic impressionism: a nationally inflected mood painting characterized by clearer and colder colours, ideally suited to wintry motifs. Indeed, many of his favorite subjects were the snow-laden vistas of Norrland (northern Sweden), earning him the affectionate epithet “Norrlandsmålaren,” or “Painter of the North,” among his contemporaries. In his later works, Johansson often suffused his snowscapes with a bold blue tonality – so much so that he was nicknamed “Ultramarin-Johansson” for his predilection for vibrant ultramarine pigments. This 1928 scene, likely from Vemdalen, exemplifies Johansson’s mature style and vision: it merges an atmospheric realism with an impressionist’s sensitivity to color and light, reflecting the artist’s lifelong commitment to depicting Sweden’s landscapes with sincerity and lyricism. A respected member of the Royal Academy by the end of his career, Johansson is today regarded as an important figure in the evolution of Swedish landscape painting, bridging academic tradition and modern plein air naturalism while inspiring a new generation of Nordic painters.

Carl Kjellin (1862-1939) Sweden

Sunset Over the Lake, 1919

oil on canvas
signed and dated C Kjellin 19
unframed 76 x100 cm
framed 91 x 116 cm

Provenance:
A gift from the artist to doctor Knut Harald Giertz;
Malma Gård Östergötland.


Essay:

"Sunset Over the Lake" by Carl Kjellin is a Nordic Light painting capturing the ephemeral beauty of a lake at sunset. The vibrant canvas, dominated by a brilliant orange sky reflecting upon the water's surface, evokes a sense of tranquility and awe. Kjellin's use of intense colors and the contrast between the dark foreground of trees and bushes creates a depth that draws the viewer into the landscape. The meticulous brushwork suggests movement through the serene stillness of nature, with a lone bird in flight enhancing the painting's dynamic feel.

Born on January 10, 1862, in Sweden, Carl Kjellin was not only an accomplished artist but also a respected drawing teacher. His education at the Royal Swedish Academy of Arts in Stockholm from 1881 to 1886, and subsequent studies in the Netherlands and Düsseldorf, as well as etching under Axel Tallberg, equipped him with a diverse skill set. Kjellin's oeuvre includes portraits and scenes from Bergslagen, featuring forges, blast furnaces, and charcoal kilns, reflecting his deep connection with Swedish landscapes.

His contributions to exhibitions at the Royal Academy, the Swedish General Art Association, and the Swedish Artists' Association were noteworthy, earning him scholarships in 1890 and 1891. Kjellin's legacy as a drawing instructor at the Technical School in Stockholm from 1898 to 1927 left a significant impact on the generations that followed. His works, including several drawings, are held in the collections of the Nationalmuseum and the Nordic Museum in Sweden. 

Attributed to Carl Mattson (1886–1941) Sweden

Evening City Street, 1926

signed and dated lower left
watercolor on canvas
unframed 62 × 51 cm (24.4 × 20.1 in)
framed 71 × 60 cm (28.0 × 23.6 in)

Provenance:
Private collection, Sweden.

Essay:
This city view painted in 1926 is a fine example of Carl Mattson’s distinctive approach to urban subjects. The composition presents an evening street scene where gas lamps and window lights glow against the blue green dusk. The setting is rendered with great sensitivity to mood and light, capturing the quiet rhythm of the city after dark.

Mattson’s technique is thin washes of watercolor on canvas allow the texture of the support to remain visible, producing a luminous and vibrating surface. Rather than building the scene through heavy modelling, he works with subtle tonal shifts and delicate strokes that evoke light, reflection, and the damp atmosphere of the evening. This method was relatively uncommon in Sweden during the 1920s.

Urban motifs appear repeatedly in Mattson’s oeuvre. Streets, harbours, and waterfronts are treated with an eye for atmosphere rather than topography. The artist seems most interested in the poetic character of places, especially during transitional moments of day or night. 

The painting can be situated within the broader context of Scandinavian art in the interwar period, when many artists explored modern life and cityscapes with increasing freedom of expression. Mattson shares this interest but maintains a personal voice shaped by lyricism, restraint, and quiet observation. His city views remain intimate and reflective rather than monumental or dramatic.

Attributed to Carl Mattson (1886–1941) Sweden

Stormy Sea with Lighthouse, 1925

signed and dated lower left
watercolor on canvas
unframed 73 × 81 cm (28.74 × 31.89 inches)
framed 83 × 90 cm (32.68 × 35.43 inches)

Provenance:
Private collection, Sweden.

Essay:
This dramatic coastal scene, executed in 1925, is by an artist almost completely forgotten, until today. The composition presents a turbulent sea beneath an immense cloud formation rising over the horizon, while a solitary lighthouse appears in silhouette against the glowing evening sky. The work is remarkable for its powerful atmospheric construction and for the unusual technical character of the surface, where thin washes of color allow the structure of the canvas to remain visible throughout the image.

The painting is dominated by the extraordinary cloud mass that occupies the upper half of the composition. Formed almost like a monumental apparition above the sea, the cloud becomes both meteorological phenomenon and symbolic presence. Mattson organizes the scene around the dramatic encounter between light and darkness. Deep blue passages of sky dissolve into reddish tones near the horizon, while the storm clouds gather in heavy horizontal layers across the water. The lighthouse, reduced to a narrow vertical accent, provides a quiet counterweight to the immense natural forces surrounding it.

Carl Mattson remains a relatively obscure figure today, but surviving archival references and museum records reveal an artist deeply engaged with maritime and urban subjects. Works associated with him depict harbors, quays, lighthouses, and atmospheric city scenes, often characterized by subdued illumination and expressive tonal contrasts. This painting demonstrates a highly individual approach to watercolor on canvas, a technique that remained uncommon in Sweden at the time. The method creates a delicate balance between drawing and painting, allowing transparency and absorbency to shape the visual effect of the work.

 

Condition report:
The canvas weave is visible throughout the composition, consistent with the artist’s thin and absorbent handling of the watercolor medium. The painting is in a good condition with fine old patina. Framed with the original frame. 

 

Carl Oscar Borg (1879–1947)

An Old Military Road, The Road over Dovrefjell, Norway

gouache on paper, ca. 1900
signed
sheet 12.5 cm x  17.5 (4.9 x 6.9 in) 
framed 23 × 28 cm (9 × 11 in)

Essay:
This evocative mountain scene captures the vast, windswept highlands of Dovrefjell in central Norway. A narrow ochre road winds gently into the distance, cutting through tundra dotted with lichen-covered rocks, melting snowfields, and pale blue pools. Beyond the foreground, low ridgelines and rounded peaks rise up toward the horizon, tinged with mauves, rusts, and icy whites. The atmosphere is brisk and luminous—suggesting early morning light breaking over a remote, high-altitude plateau.

Dovrefjell, historically a main route between southern and northern Norway, has long been traversed by traders, pilgrims, and soldiers. The title of this work refers to the old military road across the massif—once a key artery for movement through the mountainous terrain. Borg’s painting conveys not only the natural beauty of the place, but also the quiet isolation and historical depth that characterize the region.

Painted around 1900, this gouache dates from Carl Oscar Borg’s earliest period as an artist, just before his emigration to the United States. Unlike his later, more widely known depictions of the American Southwest, this work belongs to a rare group of Scandinavian landscapes he executed as a young man. Here, his brush is loose and expressive, capturing fleeting light and shifting cloud with confident, fluid strokes. The composition is simple yet expansive, inviting the viewer to follow the winding road into the heart of the mountains.

As an early plein-air study, An Old Military Road reveals Borg’s sensitivity to light, land, and mood—qualities that would come to define his mature work. In this small but richly atmospheric piece, we see an artist on the verge of his transatlantic journey, absorbing the Nordic wilderness with a clarity and calm that echo across time.

Carl Oscar Borg (1879-1947) Swedish/American

Arizona Landscape

gouache on paper
signed CARL OSCAR BORG.
unframed: 12 x 17.5 cm (4 3/4 x 6 7/8 in)
framed: 22 x 27 cm (8 5/8 x 10 5/8 in)

Provenance: 
Nagel Auctions, Stuttgart, Germany, 08 dec 2010, lot 1036.

Essay:
In this expressive gouache study, Carl Oscar Borg captures the dramatic sweep of the Arizona highlands, where storm clouds gather over layered mesas and valleys bathed in shifting light. Painted with fluid brushstrokes and a bold sense of contrast, the work reflects the artist’s deep connection to the American Southwest and its untamed beauty. The swirling forms of clouds and shadowed ridges lend the scene a sense of movement and emotional weight.

This compact composition—rendered in gouache on card—embodies the immediacy of a plein air study, likely painted on location during one of Borg’s extensive journeys through Arizona. The chromatic tension between the earthy foreground and the deep blues of the distant hills reflects Borg’s ability to balance drama with harmony.

Born in Sweden in 1879, Carl Oscar Borg immigrated to the United States in the early 1900s, eventually settling in California. He became one of the most prominent interpreters of the Southwest, known for his sensitive portrayals of Native American life and his vivid depictions of landscapes in New Mexico, Arizona, and California. His career spanned painting, teaching, and film art direction, and his work is represented in many major American museum collections.

Arizona Landscape is a striking testament to Borg’s gift for capturing not only the geography of the West, but its atmosphere—vast, volatile, and profoundly alive.