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Birger Sandzen
"ROLLING HILLS" LARGE PIECE 40" x 48" ORIGINALLY FROM HIS DAUGHTERS COLLECTION
CIRCA 1940

Name: "ROLLING HILLS" LARGE PIECE 40" x 48" ORIGINALLY FROM HIS DAUGHTERS COLLECTION
Brand: Birger Sandzen
Rating: 5 (9 reviews)

$350,000List Price

About the Item

Birger Sandzen (1871-1954) Kansas / Colorado Artist Image Size: 40.5 x 48 Frame Size: 49.5 x 57 Medium: Oil Untitled "ROLLING HILLS" Has his daughter's name on the verso. This painting was donated to Bethany college by Birger's Daughter. They owned it for many years and then about 8 years ago it was sent to auction. It sold to an art dealer from Santa Fe, I was acquired from a gallery by a friend of mine who has owned it since that time. Biography Birger Sandzen (1871-1954) Born Blidsberg, Sweden, Feb. 5, 1871; died Lindsborg, June 19, 1954. Painter, specialized in landscapes. Etcher. Engraver. Lithographer. Teacher. Attended the College and Academy of Skara as a pupil of Olof Erlandsson. After graduation from Skara College, Sandzén spent a semester at Lund University attending art history lectures and continuing the study of French. Following Lund University he went to the technical high school at Stockholm, where he studied perspective and form drawing. Sandzén joined a group of young artists and they rented a studio at Anders Zorn's suggestion. They received instruction from Zorn as well as Richard Bergh, a well-known portrait painter and Per Hasselberg, one of Sweden's best sculptors. Sandzén then went to Paris to study with Aman Jean, where he began to associate with American students in the French studies. On returning home in 1894, a family friend sent Sandzén a booklet about Bethany College, Lindsborg and the town called "Little Sweden." Sandzén moved to Lindsborg in 1894 to teach French, voice, art history, drawing and painting at Bethany College where he remained on the faculty until 1946. He first painted in the Colorado Springs, CO area in 1916, and became a frequent visitor to Santa Fe and Taos, NM beginning in 1918. Sandzén spent the summers of 1923-24 teaching at the Broadmoor Academy in Colorado Springs (presently the Colorado Springs Fine Arts Center). Sandzén also taught at Chappell House (the forerunner to the Denver Art Museum), Utah State Agricultural College, Stephens College, the University of Michigan, and the 188 Kansas City Art Institute. Sandzén's style of painting is unusual in its thick and heavy application of impasto in bold and bright color combinations, interpreting the landscape of the western United States. He is known for very colorful renderings of mountain lakes with boulders, cypress and aspen trees and moonrises along waterways. Sandzén was an important advocate for art in the region, spending time talking to people about art, organizing exhibitions and establishing art clubs. He donated artwork to the local art club to help raise money for the purchasing of art books for the library, the financing of exhibitions, and the occasional awarding of a scholarship. He painted murals for the Halstead Post Office, Where Kit Carson Camped, in 1941, for the Lindsborg Post Office, Smoky River, in 1938, and for the Belleville Post Office, Kansas Stream, in 1939. He illustrated three books, With Brush and Pencil (1905), In the Mountains, (1925), The Smoky Valley, (1922). SOURCES: Susan Craig, "Biographical Dictionary of Kansas Artists (active before 1945)" Lindquist, Emory Kempton. Birger Sandzén: An Illustrated Biography. (Lawrence University Press of Kansas, 1993); American Magazine of Art, (Jan. 1927); International Studio ( Apr. 1923); Kansas Teacher (Nov. 1927); Greenough, Charles P. The Graphic Work of Birger Sandzén. (Lindsborg : Bethany College, 1952); Fielding, Mantle. Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, with an Addendum containing Corrections and Additional Material on the Original Entries. Compiled by James F. Carr. New York: James F. Carr Publ., 1965.; Newlin, Gertrude Dix (Development of Art in Kansas. Typed Manuscript, 1951); Sain, Lydia. Kansas Artists, compiled by Lydia Sain from 1932 to 1948. Typed Manuscript, 1948.; WW26-27; American Art Annual. New York: American Federation of Arts, 1898-194727; Who’s Who in American Art. New York: American Federation of Arts, 1936- v.1=1936-37 v.3= 1941-42 v.2=1938-39 v.4=1940-47. 1, 2, 3, 4; Reinbach, Edna, comp. “Kansas Art and Artists”, in Collections of the Kansas State Historical Society. v. 17, 1928. p. 571-585.; A &C KS por il.; Dunbier, Paul. The Dunbier Value Guide; Over 1200 Painters in the Western U.S. Before 1920. Scottsdale: Altamira Press, 1981.; Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. Chicago: Swallow Press, 1974. Wiebe, Joanna K. “Kansans Cared About their New Deal Art”, in Wichita Eagle Beacon, May 21, 1972. p.1E 7E-----. “Local Legends Live in Art”, in Wichita Eagle Beacon, May 22, 1972. p.1A 3A-----. “Age Enhances Fort Scott Mural”, in Wichita Eagle Beacon, May 23, 1972. p.1A 8A-----. “Halstead Legend Perpetuated”, in Wichita Eagle Beacon, May 24, 1972. p.1A 16A -----. “Scenics, Murals and Lithographs Included in Kansas New Deal Art”, in Wichita Eagle Beacon, May 25, 1972. p.15A.; Samuels, Peggy. Illustrated Biographical Encyclopedia of Artists of the American West. Garden City, NY: Doubleday Co., 1976.; Snow, Florence. “Kansas Art and Artists”, in Kansas Teacher Aug-Sept. 1927, p.18-19; Oct. 1927, p.10, 12; Nov. 1927, p.11-12; Dec. 1927, p.7-8; Jan. 1928, p. 14-15; Feb. 1928, p.20-21; Mar. 1928, p.10-12; Apr. 1928, p. 16-17; May 1928, p.14, 16; June-July 1928, p.13-14.; American Art Annual. New York: American Federation of Arts, 1898-194724/12/18/20/22; KAC; Dawdy 2: Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. Volume 2. Chicago: Swallow Press, 1981.; Annual Exhibition of the Artists of Kansas City and Vicinity (Kansas City Art Institute, 1915-21) 1915, 1917, 1920-21; Midwestern Artists’ Exhibition (Kansas City: Kansas City Art Institute, 1920-1942 Mines, Cynthia. For the Sake of Art: The Story of an Art Movement in Kansas. s.l. Mines, 1979.) 1922-23, 1925. 1929-33, 1935-40; Beach; Porter, Dean A, Teresa Hayes Ebie, Suzan Campbell. Taos Artists and Their Patrons, 1898-1950. South Bend, IN: Snite Museum of Art, 1999.; Bruner, Ronald Irwin. New Deal Art Workers in Colorado, Kansas and Nebraska. Thesis. University of Denver, 1979.; 100 Years of Art; This and over 1,750 other biographies can be found in Biographical Dictionary of Kansas Artists (active before 1945) compiled by Susan V. Craig, Art Architecture Librarian at University of Kansas. Born in Bildsberg, Sweden, Sven Sandzen had a long distinguished career as an art professor at Bethany College in Lindsborg, Kansas and as an impressionist landscape painter. His work evolved from Pointillism to a very personal style of bold color and with masses of paint, akin to that of Vincent Van Gogh and Fauve painters Paul Cezanne and Henri Matisse. His early work was Tonalist in style in the manner of Scandinavian Romanticism, but after he began taking trips to Colorado, where he created many paintings of the Rocky Mountains, his work became much more Expressionist and Fauve or brightly colored. He was the son of a Lutheran minister and received his art education in Europe, graduating in 1890 from the College of Skara in Sweden and then taking further study at the University of Lund. He was the pupil of Anders Zorn and studied painting at the Artists' League of Stockholm and then with Aman-Jean in Paris. In 1894, he emigrated to Kansas where until 1945 he was professor at Bethany College and from then until his death, professor emeritus. Not only did he paint in the West including Yellowstone National Park in 1930, he amassed a personal collection of over 500 western paintings and drawings. At Bethany College, he organized the first exhibition of Swedish-American art held at that Swedish institution. The exhibit included paintings by himself and his colleagues. He was also active in the Swedish-American Society in Chicago. In 1916, he first went to Colorado and in the mid 1920s, taught some classes at the Broadmore Hotel. He also taught at Denver College and at Utah State College. From 1918, he became a regular visitor to Santa Fe and Taos, New Mexico, and in 1922, exhibited with the Taos Society of Artists in New York. During the Depression, he was a W.P.A. artist and was the author of a book titled With Brush and Pencil. "He was also a founding member of the Prairie Printmakers Society. In the 1930s, a handful of intaglio and block print artists from Wichita, Lawrence and El Dorado, Kansas met with Sandzen in his studio and under his direction created one of America's most successful print societies". (McCraw) Sources include: Peggy and Harold Samuels, Encyclopedia of Artists of the American West Fred McCraw, Art Writer of Kansas City and Researcher SVEN BIRGER SANDZÉN (1871-1954) Birger Sandzen had a long distinguished career as an art professor at Bethany College in Lindsborg, Kansas and as an impressionist landscape painter. He is best known for his modernist style with masses of paint, akin to that of Vincent Van Gogh and Paul Cezanne, and for Rocky Mountain Landscape subjects. His early work is Tonalist in style in the manner of Scandanavian Romanticism, but after he began taking trips to Colorado, his work became much more Expressionist and brightly colored. Sven Birger Sandzen was born in Blidsberg, Sweden to Clara Elizabeth and Johan Peter Sandzen. His mother had studied drawing and his father, a minister, enjoyed writing poetry and playing the violin. When Birger's parents noticed his artistic inclination, they asked a young minister to give drawing lessons to the nine year old. At the age of ten, he attended the College and Academy of Skara. Here his drawing and painting lessons continued under Olof Erlandsson, a graduate of the Royal Academy at Stockholm. After graduation from Skara College, Sandzen spent a semester at Lund University attending art history lectures and continuing the study of French. Following Lund University he went to the technical high school at Stockholm, where he studied perspective and form drawing. Sandzen joined a group of young artists and they rented a studio at Anders Zorn's suggestion. They received instruction from Anders as well as Richard Bergh, a well-known portrait painter and Per Hasselberg, one of Sweden's best sculptors. A doctor from the Caroline Medical Institute of Stockholm gave anatomy lessons. These young artists formed "The Art School of the Artists' League" which played an important part in the development of modern Swedish art. In the summer of 1894 Sandzen returned to Sweden where he read the book entitled I Sverige by a young Swedish-American educator, Dr. Carl A. Swensson. Dr. Swensson, a college president, told of his struggles on the plains of Kansas and he challenged other young Swedes to come help him. Sandzen was excited by the proposition and wrote Dr. Swensson a letter asking if he could use a young artist who could sing tenor and teach French. As soon as Sandzen received the cable offering him a job, he accepted and arrived in Lindsborg, Kansas the day college opened in the fall. Birger soon realized Lindborg was where he wanted to make his home with the inspiring atmosphere of the new College and energy of the young teachers and president. He built a home, where he continued to live for fifty-four years. In 1900 he married Augusta Alfrida Leksell, a gifted pianist. They had one daughter, Margaret Elizabeth. With time Sandzen became more and more involved in teaching, even his evenings were reserved for class time. At around nine or ten in the evening he would find time for his own drawing. Sandzen's inspiration came from his summers spent in Colorado, Utah, and New Mexico. Sandzen spent his time trying to generate an interest in art by talking to people about art, organizing exhibitions and establishing art clubs. He donated artwork to the local art club to help raise money for the purchasing of art books for the library, the financing of exhibitions, and the occasional awarding of a scholarship. The Babcock Galleries in New York hosted two large exhibitions of Sandzen's work in 1922 and 1923. His sponsors, the American-Scandinavian Foundation, enthusiastically invited him to come. Sandzen's reply was that he had classes and could not leave. Sandzen retired after fifty-two years of teaching at Bethany College. Sandzen had honorary doctorates bestowed upon him by Midland College of Fremont, Nebraska by Nebraska University, and by Kansas State College. In 1940 he was made a Knight if the Swedish Order of the North Star. After many months of failing health, Birger Sandzen passed away quietly in his home on June 19, 1954. From the time he was ten, Sven Birger Sandzen knew he wanted to be an artist. Born in Bildsberg, Sweden in 1871, he was the son of a Lutheran minister. He began his art studies in Europe at the College of Skara in Sweden and graduated from there in 1890 to continue his studies at the University of Lund. Having set his sites on the Royal Academy in Stockholm, Sandzen was disappointed to find no vacancies and a long waiting list of applicants. He then took classes at a new school which later became the Artists League of Stockholm. He studied there with one of Sweden's greatest painters and etchers, Anders Zorn. In 1894 he was accepted into a class in Paris taught by Aman-Jean, who shared a studio with Georges Seurat. There Sandzen was introduced to pointillism and impressionism which he used in his work from then until about 1910. Also while he was in Paris, another student told him about an opening at Bethany College in Lindsborg, Kansas which he immediately applied for. Thus began a professorship of 52 years teaching at the college and educating the local villagers in the small towns nearby about art appreciation. He was appointed principal art teacher and head of the Art Department in 1899, a position he held until his retirement in 1946, after which time he was professor emeritus. While at Bethany he organized the first Swedish/American art exhibition. He loved to travel and paint in one of his favorite places, Yellowstone National Park. By 1930 he had amassed a personal collection of over 500 western paintings and drawings. Sandzen visited New Mexico for the first time in 1918 and went back frequently to Santa Fe and Taos. The Taos Society of Artists made him an associate member in 1922. He went to Colorado first in 1908 and then in the mid 1920s taught classes at the Broadmore Hotel and Denver College. In 1928 Birger was invited to the Utah State Agricultural College (now Utah State University) and also to teach at Brigham Young University in the same summer. His brilliant color and thick impasto was now considered "Fauvist" and inspired many Utah artists to successful art careers. With the onset of the Depression, Sandzen became a W.P.A. artist and wrote a book called, "With Brush and Pencil". In the 1930s he became the founder of the Prairie Printmakers Society which was one of America's most successful print societies. He was a multi-faceted artist, speaking six languages including Latin and sang solos with the nationally famous Bethany Oratorio Group. Birger Sandzen died at age 83 in 1954 in Lindsborg, Kansas. He was often said to be a painter in the style of Van Gogh. But he would always chuckle and mention that he did not even see a Van Gogh until 1924. Exhibits and museum collections are too numerous to mention, but include Denver Art Museum; Goteborg Art Gallery, Sweden; Brigham Young University, Metropolitan Museum of Art; Uffizi, Florence; British Museum; Library of Congress and many others. Bibliography 1. Springville Museum of Art 2. The Illustrated Biographical Encyclopedia of Artists of the American West, Peggy and Harold Samuels 3. Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk Sven Birger Sandzén Born Sweden, 1871 Died Kansas, 1954 Birger Sandzén was encouraged from an early age to pursue his interest in art. At the age of eight, he was given his first watercolor box and received drawing lessons in his home in Blidsberg, Sweden. Sandzén's formal education began at the Skara School in Skara, Sweden at the age of ten. At Skara, Sandzén studied with Olaf Erlandsson who introduced the young artist to oil painting. After graduation from Skara in 1890, Sandzén studied for a semester at Lund University in Lund, Sweden. The following year the young artist went to Stockholm with the intention of studying at the Royal Academy. Sandzén was disappointed to find that there were no vacancies at the Academy and a long list of applicants. However, he learned of a class being formed by one of Sweden's greatest painters and etchers, Anders Zorn. Sandzén studied with Zorn, Richard Bergh, and Per Hasselberg in what was later to become the Artists League. Early in 1894, Sandzén was accepted into a painting class taught by Aman-Jean in a studio the artist shared in Paris with Georges Seurat. Aman-Jean promoted Impressionism and introduced Sandzén to Pointillism. Birger used a Pointillist, or Tonalist, approach to painting in his work until around 1910. Sandzén learned about an opening on the faculty of Bethany College in Lindsborg, Kansas from a classmate in Paris and immediately wrote a letter requesting the position. He was hired by the college and relocated to Kansas in the fall of 1894. In addition to assisting in the Art Department, Sandzén began his first year instructing in German, French, and Swedish. In 1899 he was appointed principal art teacher and head of the Art Department. Sandzén held both positions until his retirement in 1946, after which time he was professor emeritus. Sandzén first visited the Rocky Mountains of Colorado in 1908 and began painting in the Colorado Springs area around 1916. The artist made his first trip to New Mexico in 1918 and was a frequent visitor to Santa Fe and Taos in the years that followed. He was elected an associate member of the Taos Society of Artists in 1922. Sandzén spent the summers of 1923-24 teaching at the Broadmoor Academy in Colorado Springs, Colorado (presently the Colorado Springs Fine Arts Center). Birger also taught at Chappell House (the forerunner to the Denver Art Museum), Utah State Agricultural College, Stephens College, the University of Michigan, and the Kansas City Art Institute. Though he traveled often, Sandzén continued to live in Lindsborg until his death in 1954.

Creator:
Birger Sandzen (1871-1954, American)
Creation Year:
CIRCA 1940
Dimensions:
Height: 50 in (127 cm)Width: 57 in (144.78 cm)Depth: 4 in (10.16 cm)
Medium:
Oil
Movement Style:
Impressionist
Period:
1940-1949
Condition:
please visit my 1stdibs storefront for other great art.
Gallery Location:
San Antonio, TX
Reference Number:
1stDibs: LU76938216062

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George Rohrer Pacific Coast Sunset , Art Institute of Chicago, Mendocino, California Artist, 1988

21st Century and Contemporary American Impressionist Landscape Paintings

Robert Waltsak"Weeping Forsythia at the Park" Colorful Landscape Oil Painting on Canvas Framed, 21st Century

21st Century and Contemporary American Impressionist Landscape Paintings

Michael BuddenRealistic Seascape Venice Painting Michael Budden Gondoliers Sunlight Flags, circa 2020

21st Century and Contemporary Impressionist Landscape Paintings

Michael BuddenImpressionistic Pond Landscape Oil Painting Michael Budden Spring Pond, 2020

Early 20th Century Impressionist Landscape Paintings

Dennis SirrineSalmagundi Club Artist with Club Label Dennis Sirrine Seascape Sunset Boat, 2007

21st Century and Contemporary Impressionist Landscape Paintings

Cesare RicciardiImpressionist Cesare Ricciardi Seascape Oil Painting 1892-1973 Sail BoatsMarine, circa 1900

21st Century and Contemporary Impressionist Landscape Paintings

John J EnnekingAmerican Impressionist Artist Oil Painting John J Enneking, circa 1850

1930s Impressionist Landscape Paintings

Mogens Hertz Near Locranan, Brittany , Paris, Charlottenborg, Bornholm School, Benezit, Circa 1935

Mid-20th Century Impressionist Landscape Paintings

Louise Alix1930 s French Impressionist Oil Mythological Figures By The River Bank, 1930 s

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1950s American Impressionist Landscape Paintings

Carl Hoppe "LOST MAPLES TEXAS", 1958

Mid-20th Century Impressionist Landscape Paintings

Lamar Briggs"ABSTRACT CHURCH TOWER", Mid Century Modern

20th Century Impressionist Landscape Paintings

E.G. Edward Eisenlohr"OLD PATH HOME" TEXAS LANDSCAPE CIRCA 194Os HEAVEY IMPASTO., Circa 1940s

1970s Impressionist Animal Paintings

G. Harvey"A Winter Stop-Over" Western Stagecoach Snow Scene G. Harvey In 1970 Calendar, Dated 1970

1990s Impressionist Landscape Paintings

G. Harvey"PIKE PLACE PUBLIC MARKET" FRAMED 34 X 46 CITY STREET SCENE G. HARVEY, 1990s

1970s Impressionist Landscape Paintings

G. Harvey"FORDING AT DUSK" COWBOYS, HORSEBACK, RIVER CROSSING FRAME 44 X 62 G. Harvey, Dated 1976

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Birger Sandzen
"ROLLING HILLS" LARGE PIECE 40" x 48" ORIGINALLY FROM HIS DAUGHTERS COLLECTION
CIRCA 1940

Emile Henry Tilmans
Banks of the River Seine - Mid 20th Century France Paris Impressionist Painting, 1953

George Rohrer
Pacific Coast Sunset , Art Institute of Chicago, Mendocino, California Artist, 1988

Robert Waltsak
"Weeping Forsythia at the Park" Colorful Landscape Oil Painting on Canvas Framed, 21st Century

Michael Budden
Realistic Seascape Venice Painting Michael Budden Gondoliers Sunlight Flags, circa 2020

Michael Budden
Impressionistic Pond Landscape Oil Painting Michael Budden Spring Pond, 2020

Dennis Sirrine
Salmagundi Club Artist with Club Label Dennis Sirrine Seascape Sunset Boat, 2007

Cesare Ricciardi
Impressionist Cesare Ricciardi Seascape Oil Painting 1892-1973 Sail BoatsMarine, circa 1900

John J Enneking
American Impressionist Artist Oil Painting John J Enneking, circa 1850

Mogens Hertz
Near Locranan, Brittany , Paris, Charlottenborg, Bornholm School, Benezit, Circa 1935

Louise Alix
1930 s French Impressionist Oil Mythological Figures By The River Bank, 1930 s

Carl Hoppe
"LOST MAPLES TEXAS", 1958

Lamar Briggs
"ABSTRACT CHURCH TOWER", Mid Century Modern

E.G. Edward Eisenlohr
"OLD PATH HOME" TEXAS LANDSCAPE CIRCA 194Os HEAVEY IMPASTO., Circa 1940s

G. Harvey
"A Winter Stop-Over" Western Stagecoach Snow Scene G. Harvey In 1970 Calendar, Dated 1970

G. Harvey
"PIKE PLACE PUBLIC MARKET" FRAMED 34 X 46 CITY STREET SCENE G. HARVEY, 1990s

G. Harvey
"FORDING AT DUSK" COWBOYS, HORSEBACK, RIVER CROSSING FRAME 44 X 62 G. Harvey, Dated 1976