Items Similar to Two Paintings in One, Art Nouveau Landscape And Winter Landscape. Oak Frame
Video Loading
Want more images or videos?
Request additional images or videos from the seller
1 of 9
Alfred EkstamTwo Paintings in One, Art Nouveau Landscape And Winter Landscape. Oak Framec. 1920s
c. 1920s
About the Item
Alfred Ekstam, a renowned artist from Mangskog, Sweden, is known for his exquisite landscape paintings. We are excited to present this painting by Ekstam, which is extra special because it is painted on both sides, offering two beautiful landscapes in one, with a reversible frame that can be turned over without having to take it down from the wall.
On one side, you will be mesmerized by a stunning Art Nouveau landscape with a purple tone, featuring a mountain in the background, a lake, and trees in the foreground with shades of yellow, red, and green. On the other side, you will see a winter landscape with five red houses, likely to be Ekstam's own farm in Knaggen. The winter scene showcases sun rays shining down on the houses, with a white and green tone.
Ekstam was known for his self-criticism, he took a long time to complete his paintings and he preferred to keep his beautiful creations for himself, resulting in the creation of only around 50 landscape paintings in total.
Ekstam's artistic talent was honed during his time in Rackstadkolonin, a colony of artists who gathered in the early 1900s in Värmland, Sweden. He was trained by the famous Swedish painter Gustaf Fjaestad. Ekstam's works are known for their ability to capture the beauty of nature with incredible detail and precision.
In summary, Alfred Ekstam's painting of an Art Nouveau Landscape on one side and a winter landscape with five red houses on the other is an extraordinary piece of art that captures the beauty of nature with intricate details. With its unique double-sided feature, it is sure to be a conversation starter and a prized possession for any art lover. Don't miss out on the chance to own this stunning piece by one of Sweden's most talented Värmland painters.
INFORMATION:
Alfred Ekstam (1878-1935) Mangskog, Sweden
Front: Art Nouveau Landscape
Back: Winter Landscape, Tobyn, Knaggen?
reversible oak frame by Christer Björkman.
frame dimensions 84 x 100 cm
Provenance:
Anna och Edward Karlsson, Mangskog
- Creator:Alfred Ekstam (1878 - 1935, Swedish)
- Creation Year:c. 1920s
- Dimensions:Height: 27.96 in (71 cm)Width: 33.86 in (86 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Excellent condition, bright and clear colours. A hand-made reversible oak frame that can be turned over without having to take it down from the wall.
- Gallery Location:Stockholm, SE
- Reference Number:1stDibs: LU1445211895962
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 2020
1stDibs seller since 2020
118 sales on 1stDibs
Typical response time: <1 hour
Associations
International Confederation of Art and Antique Dealers' Associations
- ShippingRetrieving quote...Ships From: Stockholm, Sweden
- Return PolicyA return for this item may be initiated within 2 days of delivery.
More From This SellerView All
- Shipping in Stormy Waters, Attributed to Italian Artist Francesco GuardiBy Francesco GuardiLocated in Stockholm, SEThe splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art 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. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...Category
18th Century Old Masters Landscape Paintings
MaterialsCanvas, Oil
- Impressionistic Summer Landscape with Road Painted 1889Located in Stockholm, SECarl 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. "Summer Landscape with Road" offers a glimpse into the idyllic Swedish countryside through its masterful depiction. The scene is bathed in the distinctive light of the sun positioned at 30 degrees north-northwest, a unique aspect of Johansson's artworks. The viewer's eye is drawn along a winding dirt road that meanders through a tranquil pastoral landscape. Birch trees, with their white bark and tender green leaves, stand tall and sway gently, marking the passage toward a distant homestead nestled beside a calm lake. The rustic wooden fences and the clear sky, dotted with soft, billowing clouds, evoke a sense of peaceful solitude. Johansson's meticulous attention to detail and colour is evident in every brushstroke, from the lush greenery to the soft, earthy path leading to the horizon. The artist's signature use of light not only highlights the natural beauty of the North but also enhances the sense of depth and realism in the painting. 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. 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...Category
1880s Impressionist Landscape Paintings
MaterialsCanvas, Oil
- Summer Day on the West Coast of Sweden by Swedish Impressionist Alfred WahlbergLocated in Stockholm, SEAlfred Wahlberg was a distinguished Swedish landscape painter whose career spanned Germany, France, and Sweden. During his early years, he resided in D...Category
Late 19th Century Impressionist Landscape Paintings
MaterialsCanvas, Oil
- Halmstad Harbour Seen From the North, 1889Located in Stockholm, SEThe painting "Halmstad Harbour Seen From the North" by Oscar Ohlson is a captivating snapshot of daily life and historical architecture, frozen in time from the year 1889. With a meticulous eye for detail, Ohlson has rendered approximately 25 boats in the harbor, each brimming with the quiet bustle of daily chores. The painting invites viewers to step into a moment where people converse, work, and seek respite from the sun under shared umbrellas, while wisps of smoke subtly rise from several boats, suggesting the presence of life and activity beyond the canvas. In this vibrant scene, a man carries a sack, perhaps fresh merchandise from one of the docked vessels, while others engage in conversation, highlighting the social tapestry of the harbor. Ohlson's masterful use of light reflects on the water, creating a shimmering path that leads the eye to the majestic Halmstad Castle, which adorns the right side of the painting. This historic building, beautifully situated by the Nissan river and not far from the sea, is a testament to Halmstad's past as a Danish territory. Constructed in the early 17th century during the reign of King Christian IV, the castle stands as a reminder of the town's rich history and cultural heritage. The first building to the right, once part of this historic tableau, has been removed to accommodate modern necessities, replaced by a road that now runs through its former site. This juxtaposition of past and present is a poignant commentary on the evolution of cities and the sacrifices made in the name of progress. Halmstad itself, a town that straddles the Nissan river, retains much of its early 20th-century character in its city core. Low brick and half-timbered houses, some dating back to the 17th century, dot the landscape. The town center on the west side of Nissan is bordered by remnants of early 17th-century fortifications, including the 1600s castle, Norre Port from 1601, and King Charles XI's path along the old fortress wall. At the heart of the town is Stora Torg with Carl Milles' Europa and the Bull fountain from 1926, and the town hall built in 1938. The city layout, influenced by Renaissance planning, converges at Stora Torg, which is also home to the town's sole medieval building, the brick hall church of St. Nikolai from the 14th century. Oscar Ohlson (1847-1912), a native of Linneryd, Småland, was a multifaceted individual. Beginning his career with a legal degree from Uppsala University in 1870, Ohlson's passion for the arts led him to pursue music studies before dedicating himself to art under the guidance of Alfred Wahlberg...Category
1880s Realist Landscape Paintings
MaterialsCanvas, Oil
- A Day in Venice, 1892Located in Stockholm, SEThis captivating painting by Axel Axelson (1854-1892), titled "A Day in Venice, 1892" illustrates a moment from Venice in the year of 1892. Within the compact dimensions of 24 x 14 c...Category
1890s Realist Landscape Paintings
MaterialsCanvas, Oil
- Harvest Time by Hjalmar Sandberg, Swedish Artist, Oil on Canvas, Signed, 1876Located in Stockholm, SEHjalmar Sandberg (1847-1888) Sweden Harvest Time, 1876 oil on canvas canvas size 14.96 x 18.11 inches (38 x 46 cm) frame 18.70 x 25.59 inches (47.5 ...Category
1870s Impressionist Landscape Paintings
MaterialsCanvas, Oil
You May Also Like
- Orientalist: "Arabian Horseman" dated 1903 André ChaumièreLocated in SANTA FE, NM"Fantasia of Arabian Horseman" dated 1903 André Chaumière (French, XlX-XX) Oil on canvas Handcrafted original wood frame with bronze applique 20 3/4 x 12 3/4 (28 1/2 x 20 frame) inc...Category
Early 1900s Art Nouveau Figurative Paintings
MaterialsCanvas, Oil
- Follower of Emile Bin - 19th-20th century figure painting - Pan’s SlumberLocated in Varmo, ITFollower of Émile Bin (Paris 1825 - Marly-la-Ville 1897) - The sleep of Pan. 90 x 69 cm without frame, 112.5 x 92 cm with frame. Antique oil painting on canvas, in a carved and gil...Category
Late 19th Century Art Nouveau Figurative Paintings
MaterialsOil, Canvas
- Vizzotto Alberti (Venetian painter) - 20th century figure painting - LancersLocated in Varmo, ITEnrico Vizzotto Alberti (Oderzo 1880 - Padua 1976) - The 7th regiment of Milan lancers. 25.5 x 35 cm without frame, 51.5 x 57 cm with frame. Ancient...Category
Early 20th Century Art Nouveau Landscape Paintings
MaterialsOil, Canvas
- Georgette Nivert (French painter)- 19th century figure painting - Spanish girlsLocated in Varmo, ITGeorgette Nivert (Francese, c.1910) - The Spanish girl. 54x65cm. Oil on canvas, unframed. - Work signed on the lower left: “G. Nivert". Condition ...Category
Late 19th Century Art Nouveau Figurative Paintings
MaterialsCanvas, Oil
- Erma Sago (Venetian painter)- 20th century Genoa view painting - SignedBy Erma ZagoLocated in Varmo, ITErma Zago (Bovolone 1880 - Milan 1942) - The port of Genoa. 24.5 x 35.5 cm without frame, 50 x 61 cm with frame. Antique oil painting on wood...Category
Early 20th Century Art Nouveau Figurative Paintings
MaterialsPanel, Oil
- Lucia Ponga (Venice) - Pair of 19th century landscape paintings - Venice viewLocated in Varmo, ITLucia Ponga degli Ancillo (Venice 1887 - 1966) - Venice, imaginative views. 25 x 35 cm without frames, 44.5 x 55 cm with frames. Pair of antique oil paintings on wood, in wooden fr...Category
Early 20th Century Art Nouveau Landscape Paintings
MaterialsOil, Panel
Recently Viewed
View AllMore Ways To Browse
Antique Art Nouveau Art Nouveau
Stunning Landscape
Art Nouveau Canity
Art Nouveau 1910
Art Nouveau Painted
Antique Oak Frames
Five Piece Art
Paintings From 1920s
Green Art Nouveau
Art With Winter Scene
Art Nouveau Framed
1920s Framed Painting
1935 Landscape
Red Art Nouveau
Art Nouveau Red
Landscape Sweden
Take Five
Antique Art Creation