Per Fischer

Livingroom Interior of the Artist Villa, Lidingö

circa 1915

A view of Stockholm painted from the Royal Park of Djurgården and overlooking the small island of Kastellholmen painted by Alfred Bergström (1869-1930) The church visible in the background is Katharina church, built in 1695, located in Södermalm, Stockholm. Signed: Alfr. Bergström, 1887. Oil on canvas. A very early work by Bergström when he was only 18 years old. Painted en plein air, probably during the late autumn or early winter of 1887 when he did his first year of study at the Royal Art Academy. Alfred Maurits Bergström was a Swedish artist and professor at the Royal Academy of Arts. He was a painter, watercolorist and etcher. During the years 1887–1891 he studied at the Academy and won the Royal Medal...

A magnificent view of Stockholm, featuring a steamboat gliding slowly passing by Skeppsbron, (the bridge) with Södermalm and Katarina Church illuminated in the soft light of dusk. Th...

Serene sunset over the waters near Smögen on Sweden's west coast, with the sun setting just behind the island of Hållö and its lighthouse by female artist Ingeborg Westfelt-Eggertz. ...

A watercolor depicting a mountain view and the lake Gruyère, (Lac De La Gruyère) in Switzerland by the American Impressionist and Tonalist Mary Rogers Williams (1857–1907). Signed M.R. Williams. On the verso, the artist wrote: ‘Painted in Gruyère July 1902.’ This is a newly discovered work by a rare woman artist who seldom appears on the art market. Small in scale, yet rich in atmosphere, power, and depth—a genuine little gem. Mary Rogers Williams was born in 1857, in Hartford, Connecticut, the fifth of six children to a local baker. Orphaned by the age of fourteen, she pursued art with remarkable determination, studying at Hartford’s Decorative Art Society and the Art Students League in New York under William Merritt Chase. Her early mentor was James Wells Champney. In 1888, she joined Smith College as associate professor of art, where she taught for nearly twenty years to help support her family. Alongside her academic career, she maintained a serious and evolving artistic practice, though much of it was pursued within the limitations of her era’s gender roles and financial pressures. Her work is often classified as a blend of Tonalism and Impressionism—movements that were just taking shape during her lifetime. Tonalists used subdued palettes to evoke mood rather than detail, while Impressionists leaned toward brighter colors and broader subjects. Williams, working independently of art-world factions, forged a style rooted in mood, light, and atmosphere. She painted luminous pastels, watercolors, and oils—portraits, landscapes, and intimate studies of daily life. Despite knowing figures like Whistler, William Merritt Chase, and Childe Hassam, she rarely aligned herself with any artistic “school” and found many male contemporaries pretentious or repetitive. She famously dropped out of Whistler’s Paris school, calling him “a pompous fop surrounded by fawners.” Though Mary Cassatt and Williams were both American Impressionists living in Paris, they never met—Cassatt enjoyed wealth and elite circles, while Williams was a self-reliant educator without patrons. Williams traveled extensively throughout Europe—from the Arctic Circle to the ruins south of Naples—often alone or with her sister. She bicycled through fjords, hiked to medieval towns, and visited chateaux and harbors, all while sketching prolifically. She is likely the only 19th-century woman artist whose travels and daily life can be traced in such vivid, personal detail: what she ate, how she felt about fellow travelers, what she paid for trams, how the air smelled, what she wore, and how she missed home. She documented everything—museum visits, church restorations, conversations with hotel guests, and her frustrations with men’s treatment of women artists. These letters, rediscovered in 2012 in a family boathouse, provide an extraordinary insight into not only her art but the intellectual and emotional texture of her life. Her writings reveal not only artistic insight but the immense workload she carried. At Smith, she taught studio art and art history, organized faculty events, curated student exhibitions, wrote essays, handled housework, and even cooked and cleaned for her own lodgings. On vacations, she cooked for her family; in Europe, she waxed floors, painted walls, repaired clothing, and stoked fires—all while maintaining her painting and travel schedule. Unlike many of her male peers, she had no assistants, no household staff, and little inherited wealth. Yet, as her letters reveal, she never saw herself as a victim—she relished challenges and even the absurdities of her era, from Italian waiters pushing marriage to department heads at Smith dismissing women’s artistic capacity. Despite these challenges, Williams exhibited widely during her lifetime: Paris Salon (1899) National Academy of Design (1903–04) Pennsylvania Academy of the Fine Arts New York Water Color Club, American Water Color Society, Art Association of Indianapolis, and more. She was praised in The New York Times, Hartford Courant, and Springfield Republican, and compared by peers to figures like Emily Dickinson—another New England woman of quiet yet profound artistic power. But unlike Dickinson, Mary Williams...

Peter Ilsted's "Dining Room at Liselund Manor" from 1917 is not only a remarkable illustration of the Copenhagen Interior School's aesthetic but also a profound exploration of the co...

Evy Låås (1923-1999), well listed Swedish artist. Pastel on paper. Living room interior. Colorful palette. Mid-20th century. Signed in pencil. In perfect condition. Dimensions: 63.5...

This stunning oil painting was painted circa 1911 and is signed lower right. The painting depicts a Scottish interior- a small occasion or card table surrounded by a variety of mahog...

Elegant Interior signed by Charles Martin-Sauvaigo (French 1881-1970) * see notes below French Impressionist painter oil painting on canvas unframed size: 18 x 15 inches condition: ...