Herman Österlund

Ocean View from the West Coast by Swedish Artist Herman Österlund, 1916

1916

The painting we are selling is a breathtaking mountain view from Hålland in Jämtland, Sweden, created by Ante Karlsson-Stig in 1932. Ante Karlsson-Stig (1885-1967) was a Swedish pain...

A beautiful original oil painting by Swedish artist Per Julius (b.1951). Julius is best known for his beautiful depictions of the Scandinavian nature and this is a prime example of ...

The 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...

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. "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...

Alfred Wahlberg was a distinguished Swedish landscape painter whose career spanned Germany, France, and Sweden. During his early years, he resided in D...

The 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...

Ferdinand Sommer (German, * 28.5.1822 Coburg, † 26.7.1901 Luzern) Das Kurhaus Villa Germania in Davos, Schweiz um 1874 • Oil on canvas, ca. 31 x 48 cm • Later oak frame, ca. 45 x ...

French mediterranean provencal painting. Oil on canvas by François Bernard, France, 1940-1950s. Boats in Martigues, Provence. With frame : 61x111 cm - 24x43.7 inches, without frame :...

KARL KAUFMANN Austrian, 1843 - 1901 VIEW OF VENICE signed & dated "K. Kaufmann 1894" (lower right) oil on canvas 38-3/4 x 56-1/8 inches (98 x 142 cm.) framed: 41-1/2 x 59-1/4 inches ...

KARL KAUFMANN Austrian, 1843 - 1901 VIEW OF VENICE OF THE DOGE'S PALACE, VENICE signed & dated "K. Kaufmann 1894" (lower right) oil on canvas 38-3/4 x 56-1/8 inches (98 x 142 cm.) fr...

Channel. 1970, cardboard, oil, 108x73 cm Jadviga Žilvinska (1918-2010) was born in Tallinn. She grew up in Liepāja, where her great interest in art began and strengthened, which led the young artist to study at the Art Academy of Latvia. During her studies at the Academy, she studied with K. Ubāns, V. Tone and J. Liepiņš, and defended her diploma thesis under the guidance of L. Liberts. Later on, she devoted her entire life to art, working at the Liepāja School of Fine Arts and as a portraitist at the "Māksla" combine. She had four favourite themes: landscapes, portraits, flowers and sacred painting. Her works have lyricism and inner harmony. In the portraits, we see not only the outer form of a person, but the artist allows us to look into the very essence of a person - it is likely that the models themselves often saw something new and bright in themselves through the artist's vision. The works are executed in various techniques - tempera, oil, pastel and watercolour. CV: 1938 - Graduated from the Liepaja Secondary School of Applied Arts, Department of Decorative Painting. 1943 - Latvian Academy of Art, L. Liberts Figurative Painting Workshop with her diploma work "At the Artist's" 1946-1948 - teacher of painting and drawing at Liepāja Fine Arts High School. 1948-1966 - portraitist at the "Māksla" combine Participated in exhibitions since 1948. Member of the Artists' Union since 1966. Solo exhibitions in Riga, Jelgava, Sigulda (1972); Riga (1975; 1978; two in 1981; 1986; 1994), Jurmala (1979). Works exhibited in Latvia as well as abroad (Poland, Switzerland, Italy, Japan, Finland, Venezuela, Germany, Hungary). The works are located in: "Portrait of Cardinal Julian Vaivoda", 1983, in the Vatican Museum in Rome "Portrait of Pope John Paul II, 1982, in the Roman Catholic Metropolitan Curia of Riga The altarpieces "The Heart of Jesus" and "Our Lady of Fatima", the paintings "John the Baptist" and "The Holy Family" , all from the late 1960s, in the Church of St Mary Magdalene...

Stunning oil on canvas, scene of two young courting lovers in an extensive landscape. A French painter from the middle to late 19th century. Dastugue was a portrait and genre painter...