Prodotti

Ferdinand Fagerlin (1825-1907) Sweden

Kärleksförklaring (“Declaration of Love”) 1866

oil on canvas
unframed 80 x 99 cm (31½ x 39 in)
framed 96 x 114 cm (37¾ x 44¾ in)
signed and dated “Ferd. Fagerlin Ddrf 1866” 
painted in Düsseldorf in 1866.

LITERATURE
Axel Gauffin, Ferdinand Fagerlin, 1910, listed in the catalogue of the artist’s works for the year 1866, p. 147; compare illustration on p. 86.

Essay:
Ferdinand Fagerlin was a Swedish-born painter who made his artistic career primarily in Germany, where he became one of the leading figures of the Düsseldorf school. Known for his richly detailed genre paintings, Fagerlin combined technical precision with a gift for capturing everyday human emotion and narrative subtlety. His work was widely exhibited during his lifetime and remains admired today for its masterful draughtsmanship, warm palette, and psychological nuance. Kärleksförklaring (“Declaration of Love”) is a quintessential example of his mature style.

In this finely detailed genre scene, Fagerlin depicts a cosy 19th-century fisherfolk interior filled with warmth and narrative symbolism. A young fisherman, rose in hand, offers a tender declaration of love to a modest young woman seated with a half-mended fishnet in her lap. Her eyes are downcast and cheeks subtly flushed, suggesting both surprise and quiet joy as she contemplates his courtship. The intimate drama unfolds in the heart of a rustic cottage: a model boat rests nearby – a child’s toy that nods to the suitor’s seafaring life – and a little girl plays with her doll by an open wooden chest, innocently unaware of the moment’s significance. These domestic details, from the humble chest to the child’s toys, emphasise the familial setting and the promise of home and future family that the proposal carries.

Fagerlin’s storytelling artistry shines through the composition. Every element contributes to the atmosphere and narrative. The tall tiled stove in the corner, decorated with Delft-like blue tiles, radiates warmth; one can almost see a wisp of smoke gently curling upwards, reinforcing the painting’s cosy, hearthside ambiance. Light filters softly through a window, illuminating the young couple while leaving the perimeter in comfortable shadow. This careful lighting guides our focus to the lovers’ exchange, heightening the scene’s emotional centre. The artist subtly directs our gaze: we notice the fisherman’s expectant posture, the maiden’s hesitant smile, and even the oblivious siblings who lend the scene a natural, lived-in authenticity. Though the subject is heartfelt, Fagerlin avoids cloying sentimentality – the mood remains sincere and gently humorous, never maudlin.

Kärleksförklaring exemplifies Fagerlin’s technical virtuosity and the hallmarks of the Düsseldorf school. The composition is well-thought-out and balanced, populated by just a few figures so that every gesture counts. Fagerlin’s attention to detail is exceptional – from the delicate weave of the fishing net to the gleam on the ceramic stove tiles – reflecting the technical perfection, elegant brushwork, warm and mature colour, and assured drawing and modelling for which he was renowned. The paint handling is refined and precise, bringing each texture , wood, fabric, porcelain, flesh vividly to life. Yet this precision never impedes the atmosphere: the scene feels natural and inviting, with a warm tonal palette that enhances the story’s emotional resonance. Fagerlin’s characterisation of his figures is equally masterful, their expressions and body language are rendered with empathetic realism, communicating the hope, affection, and slight nervousness of a public declaration of love. Overall, Kärleksförklaring stands as an elegant narrative tableau, combining meticulous detail and rich storytelling to capture a timeless moment of domestic intimacy and affection in a 19th-century fishing village home.

Ferdinand Fagerlin (1825-1907) Sweden  

Portrait of Alice Ritter, The Artists Wife  

oil on canvas
signed with monogram
painted 1862
canvas size 27.95 x 22.83 inches (71 x 58 cm)
frame 39.37 x 34.64 inches (100 x 88 cm)
frame included.

Provenance:
Architect Georg Lindström, Stockholk

Exhibited: 
Liljevalchs Konsthall, Stockholm, 1936, The Düsseldorf School exhibition, catalogue p. 20, no. 63 — Portrait of Alice Ritter. Belonged to architect G. R. Ringström, Stockholm.

Literature: 
Konst i Svenska Hem, Collection No. 249, Georg Ringström — the portrait is illustrated on p. 183.

Ferdinand Fagerlin (1825-1907) Sweden

The Old Stone Stairway

oil on board
signed Ferd Fagerlin
unframed 24 x 18 cm

Provenance: 
Probably in the collection of Helena Göhle, Norrköping (listed in Konst i svenska hem, second edition, p. 599, as “Gallerfönster,” 25 × 17 cm); later in a Swedish private collection.

Exhibited: 
Probably  Liljevalchs Konsthall, Stockholm, 1936, The Düsseldorf School exhibition, catalogue p. 23, no. 90 — Sunlit Attic Room.

Essay:
This oil painting called The Old Stone Stairway by Ferdinand Fagerlin offers an intimate glimpse into a quiet interior space, where the stillness of the scene is punctuated by the soft daylight filtering through a window. Measuring a modest 24 x 18 cm, the painting captures the subtle play of light on the staircase and walls, evoking a serene atmosphere.

Ferdinand Fagerlin was born in 1825 in Stockholm and passed away in 1907 in Düsseldorf. He was a notable Swedish artist. His genre paintings often depicted Dutch fishermen, but he was also renowned for his dramatic portrayals of people and interiors. Typically associated with the Düsseldorf school of painting, Fagerlin's journey in art began as a shipbuilder's apprentice before he transitioned to studying at the Royal Swedish Academy of Arts. His military service was followed by further artistic development in Düsseldorf and Paris under the mentorship of Thomas Couture. Fagerlin settled in Düsseldorf, where he cultivated his craft and reputation. His legacy is enshrined in several prestigious institutions, including Nationalmuseum in Stockholm, Kalmar Art Museum, Norrköping's Art Museum, and Gothenburg's Art Museum. This piece reflects Fagerlin's keen eye for detail and his ability to convey emotion through the depiction of everyday scenes.

Ferdinand Fagerlin (1825–1907) Sweden

Wishing It Were She ( Önskandes att det var hon) 

Ferd. Fagerlin (lower right)
oil on canvas
unframed: 17 × 21.5 cm (6.7 × 8.5 in)
framed: 30.5 × 35 cm (12 × 13.8 in)

Provenance:
Private Swedish collection

Essay
This small, intimate oil painting Wishing It Were She is a preparatory study for a larger composition of the same title. The scene depicts three figures in a richly furnished 19th-century interior: a young woman stands by a table, a seated young man converses with another woman, and a dog sprawls contentedly on the floor in the foreground. The arrangement is intimate yet subtly theatrical, as if a quiet domestic drama is unfolding on a stage. Warm tones and richly textured costumes and furnishings draw the viewer into the narrative. The title hints at unspoken romantic longing, suggesting that the young man may be wistfully imagining the standing woman in place of his current companion. Despite its small size, the study brims with narrative realism and finely observed detail, capturing a moment of everyday life imbued with emotional undercurrents.

Ferdinand Fagerlin painted this work during his years in Düsseldorf, and it exemplifies the hallmarks of the Düsseldorf School of painting. Educated at the Kunstakademie Düsseldorf under Karl Ferdinand Sohn and Friedrich Wilhelm Schadow, Fagerlin absorbed that academy’s emphasis on strong draftsmanship, meticulous detail, and dramatic composition. The influence of the Düsseldorf School is apparent in the painting’s carefully structured grouping of figures and the almost stage-like setting that reinforces the story. At the same time, the subject matter is domestic and anecdotal, a slice of everyday life, reflecting the Düsseldorf artists’ interest in genre scenes as well as their narrative clarity. Fagerlin, a Swedish-born painter who settled in Germany, became known for such genre paintings that combined academic technique with the portrayal of ordinary people. His membership in the Düsseldorf artists’ association Malkasten and his ties to a community of Scandinavian painters there positioned him as a key Nordic figure in this international art movement. In Wishing It Were She, one can see Fagerlin’s keen attention to the textures of fabric, the play of warm indoor light, and the expressive gestures of his characters, all of which attest to his training and talent as a storyteller in paint.

The subject and style of this piece also speak to the broader popularity of genre painting in the 19th century. European audiences and collectors of the time greatly enjoyed paintings of everyday life, especially those with a touch of sentiment or moral narrative. In an era when large historical or religious works dominated academic salons, scenes of domestic intimacy like Fagerlin’s offered a relatable alternative. They were often populated with lovingly rendered details, from the faithful dog at the hearth to the bird in hand, that lent authenticity and charm. Genre paintings such as this were eagerly collected by the growing middle class, who found in them both aesthetic pleasure and reflections of their own social world. Fagerlin’s work, in particular, often drew inspiration from Northern European settings and 17th-century Dutch painting traditions, evident in his precise depiction of interiors and costumes. This influence resulted in images that felt at once true-to-life and nostalgically picturesque, satisfying 19th-century tastes for realism tempered with warmth and sentimentality.

As a preparatory study, Wishing It Were She holds special value for understanding Fagerlin’s artistic approach. Though modest in scale, the painting is executed with a confidence and completeness that suggest it may have been shown to patrons or used by the artist to refine the composition of the final large canvas. (The finished version, measuring 85 × 103 cm, was sold at Sotheby’s in 2004, 21.600€) 

Sources
- Svenskt Biografiskt Lexikon – “Ferdinand Julius Fagerlin (1825–1907)” (Stockholm: National Archives of Sweden, 1953).
- Bettina Baumgärtel (ed.), Die Düsseldorfer Malerschule und ihre internationale Ausstrahlung 1819–1918, vol. 1 (Petersberg: Michael Imhof, 2011).
- Encyclopedia Britannica – “Düsseldorf school (painting)”, Britannica Academic Edition.
- Wikipedia – “Ferdinand Fagerlin” (biographical article) and “Genre painting” (general overview of 19th-century genre art).

Condition Report:
Minor age-related craquelure consistent with the painting’s age. Varnish is aged but stable, Colors remain bright and clear, The work is ready to hang and presents well overall.

Ferdinand Hernlund (1837-1902) Sweden

Sunset Over a Meadow

oil on canvas
signed Ferd. Hernlund
unframed 37x48 cm 
framed 54x67 cm.

Essay:

We are delighted to present an exquisite painting by the Swedish artist Ferdinand Hernlund, depicting a serene sunset over a lush, flower-dotted meadow. This captivating work is a quintessential example of Hernlund’s mastery in capturing the poetic beauty of nature.

Description of the Painting

The artwork beautifully portrays a tranquil summer evening. The sun is setting behind a line of trees, casting a warm, golden glow across the meadow. The sky is awash with hues of orange, pink, and soft purple, typical of a glorious sunset. The meadow in the foreground is rich with verdant grass, scattered with delicate wildflowers, adding a touch of vibrant life to the scene. A small stream winds its way through the grass, reflecting the colors of the sky, leading the viewer's eye deeper into the painting.

The Artist

Born on August 17, 1837, in Eksjö, Sweden, Ferdinand Hernlund was a distinguished painter and illustrator known for his lyrical and warm depictions of Swedish landscapes, particularly from regions like Kalmar, Kolmården, and the Östgötaslätten.

From an early age, Hernlund showed artistic talent, creating cityscapes of Eksjö as early as 1850. His formal art education included studies in Stockholm under the guidance of Per Daniel Holm and further refinement of his skills in European art centers like Düsseldorf, Karlsruhe, and Munich.

Hernlund's primary residence was in Stockholm, though he often traveled to capture the diverse and picturesque Swedish countryside. His works were regularly exhibited at the Royal Swedish Academy of Fine Arts, where he was elected a member in 1887. Beyond his painting career, he contributed as an illustrator for notable works such as "Svenska folksägner" by Herman Hofberg and "Vårt land" by Gustaf Fahlcrantz.

Hernlund’s art is well-represented in several prestigious collections, including the Nationalmuseum, Kalmar Museum, and the Linköping Art Museum. 

Flemish 1600s School

The Card Players

oil on oak panel
panel dimensions 22.5 x 20 cm
frame included

Provenance: 
From a Swedish private collection. 

Condition:
Flat and stable panel, discolored old varnish. Some small retouching. 

Francesco Guardi (Venice 1712-1793) Attributed to

Shipping in Stormy Waters

oil on canvas
canvas dimensions 20 x 23 ½ in. (50.8 x 59.7 cm.)
frame 25.7 x 29 inches (65.5 x 74 cm.)

Provenance:
Christie's London, 2 November 2016, lot 180 (as Attributed to Francesco Guardi), sold for GBP 102.500;
Private collection France;
Sotheby’s Paris, 17 June 2021, lot 165 (as Attributed to Francesco Guardi)

Essay:
No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention.

Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person.

Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters.