Ingeborg Westfelt-Eggertz

Lost in Thoughts, Oil Sketch Painted in Brittany (Bretagne), Before 1890

before 1890

Bennet received his artistic education during a trip to Italy from 1829-to 1832, where he stayed in Rome and Naples. His closest contact in Rome was with the sculptors Bengt Erland Fogelberg and Bertel Thorvaldsen and the French painter Horace Vernet. After returning to Sweden, he divided his time between military service and art. In 1838, after advancing to captain, he resigned from the military and conducted preparatory studies in the field of art in Sweden. He then mainly painted Italian landscape motifs, Stockholm views and views of larger mansions, portraits, animal pictures...

"A Young Girl Reading a Book" is a captivating portrait by Swedish artist Gustaf Arnolds. Arnolds was a prolific painter whose roots began in Vingåker and later in Ronneby from his teenage years. His educational journey in art took him through prestigious institutions such as Althins målarskola and the Tallbergska grafikskolan in Stockholm, followed by a significant period at the Konstakademien, Stockholm, between 1904 and 1909. His talent and dedication were recognized early on, earning him a scholarship to Paris, a city that would deeply influence his artistic direction. This particular work, likely painted shortly after his return to Sweden, reveals a profound influence from his time in Paris. It portrays a young girl absorbed in reading a book, a simple yet profound subject that Arnolds imbues with a sense of tranquility and introspection. The background hints at a serene landscape, dotted with quaint houses, a nod to the everyday beauty surrounding us. What sets this piece apart is Arnolds’ technique, reminiscent of pointillism but distinguished by longer, more expressive brush strokes that add a vibrant texture and depth to the canvas. This method showcases Arnolds' unique adaptation of the techniques he encountered during his Parisian studies, particularly during his interactions with Nils Dardel...

We are delighted to present for sale a charming oil painting by the Swedish artist Thure Wallner (1888-1965), showcasing a whimsical scene of a kitten nestled in the grass amidst blo...

Martin Eder was a Swedish drawing teacher, artist and ceramicist. Martin was born on the island of Gotland and spent a lot of time there, he also lived in Sala. Martin was a curious ...

Ferdinand Fagerlin (1825-1907) Sweden Portrait of Alice Ritter, The Artists Wife oil on canvas signed with monogram painted 1862 canvas size 27.95...

The story of the Belle époque in one portrait When it comes to glamour, no period in the history of art can compete with the Belle époque. A generation of highly talented artists developed new styles of portraiture that not only showed fashionable taste and elegance – but also the tensions and changes to come that lured behind the surface of this glittering age. One of them was John da Costa (1867–1931) also – involuntarily – known as “The John Singer Sargent of children’s portraits”. The time period between the Franco-Prussian war of 1871 and the outbreak of the first world war of 1914 was an unusually peaceful and prosperous one – at least on the surface. The decades leading up to the largest and most destructive war the world had ever seen were characterized by a combination of industrial boom, cosmopolitan life, the birth of modern art and literature and political movements that eventually would change society forever. In other words, it was a melting pot for many phenomenon and societal transformations that we still today are affected by, not least in the form of art. Breaking away from the more conservative academic traditions, new styles of painting of varying radicality emerged and both chocked and delighted audiences. When it comes to portraiture, names like John Singer Sargent and Anders Zorn conquered international audiences with their electrifying paintings of high society, politicians and celebrities of the era. Their erringly light brushwork created an almost dreamlike atmosphere where everything from the sheerness of dress fabrics, subtle lights of ballroom evenings and dense psychological facial expressions vibrated with the zeitgeist. Initially controversial and breaking with traditional expectations, eventually it was this kind of portraits that became the “dernier cri”, a hallmark of good taste and ultimately the very essence of the Belle époque. And it is here, in the vibrant field of portraiture, that John da Costa finds his place and artistic calling. Born in Teignmouth in southern England, a career in the arts was not an obvious choice for John da Costa. Teignmouth, however, beautifully located in the Devon landscape with its proximity to the roaring sea and picturesque fields, was a small fishing town far away from urban life and the art scene. It appears that it was rather early on that his artistic talent became evident, and after studies in Southampton and Paris he eventually established himself as a prominent painter who would soon achieve an international reputation. Interestingly, he was for a period a member of the Newlyn artist colony in Cornwall, not too far from his hometown, where the natural light inspired numerous artists to explore a new realism “En plein air”, not unlike the more famous Barbizon School in France. However, this path, although certainly an important experience, was not right for da Costa who soon searched for other artistic inspiration. Fellow artist Norman Garstin noted with grief his departure from the colony, but new adventures were on their way and they would take on the form of portraiture. It is hard for us today to understand how esteemed and culturally important the genre of portraiture was during this time. Portraits were constantly discussed and commented on, not only in their function of depicting a person but also as an artistic expression of its own, expanding the notion of what art was capable of documenting in terms of the human psyche, the mood of the time and of course the specific temperament and visions of the artist. Furthermore – and not unimportant – it was also an especially lucrative genre for a younger artist, who could more easily get an income through portraits while at the same time challenging themselves artistically. Painting portraits demanded social skills, patience to deal with customers and a real understanding of different identities, ideals, fashions and particular wishes that each sitter might have. And then, the opinions of art critics and audience was also important to consider. In other words, portraiture is far from only capturing the likeness of a person – it is a deeply psychological, artistic and entrepreneurial endeavor. John Singer Sargent is perhaps the prime example of the complexity of Belle époque portraiture; it seems that he with a few meticulous but light brushstrokes could express an entire identity and of person and an era in a portrait. Perhaps this is why his style became so admired, and why so many artists were inspired to paint in a similar manner. Da Costa was far from alone in his fascination for swift, elegant brushwork in Sargent’s manner – but he was unusual in his ability to interpret it in his own distinct way. Judging from where he received commissions, da Costa was a true cosmopolitan. He was as comfortable working in London as he was in Scotland, France and the US, where some of his most prestigious works were produced. For a number of years, he ran his own art school in Kensington in collaboration with his friend Phil Whiting from the Newlyn colony. The list of famous clients was impressive, among them we find the secretary of the treasury Andrew W...

Pacifying painting of cozy scene with Italian family perhaps having rest on the long road. Warm autumn featuring soft sun create this peaceful atmosphere. By anonymous professional o...

Painted in June of 1874 in Bad Driburg by gifted painter Princess Marie Alexandrine of Saxe - Weimar - Eisenach (1849 – 1922), eldest daughter and second child of Charles Alexander, ...

Signature lower left: Paul Louis Narcisse Grolleron (1848 - 1901). The French painter and illustrator, Paul Grolleron, remains best known for his many well-observed images of the Fra...

Portrait of a young girl, full-length, wearing a blue silk gown, standing on a terrace beside a classical urn holding a branch with blossom. Attributed to John Riley...

English 19th century portrait of the Clipper ship Crescent in full sail. Acquiring a 19th-century English portrait of a clipper ship is more than just adding a painting to your coll...

"The Illusion of Progress" is a 59in x 79in original oil painting by Katherine Fraser in a handmade wood frame. "Life often strikes me as a string of moments, like a series of film ...