Stockholm - Art

This charming Swedish countryside genre painting, signed lower left "T.A. Forssman" and dated 1868, captures a touching bride arrival scene: a young woman in traditional folk costume...

This small Flemish painting, measuring only 24.5 x 18.5 cm and executed on a copper plate, depicts Saint Nicholas of Tolentino. Created in the 17th century, the artist remains unknow...

Carl Frederik Aagaard, Sunset over Dyrehaven. Signed C.F. Aagaard. Oil on canvas laid on card box panel. 22×32 cm without frame. A tergo written:...

This small painting by Oscar Törnå captures the poetic serenity of a Swedish winter evening in the late 19th century. Set along a frozen stream near a village, the composition presen...

A Golden Dawn on the Maas In this refined marine painting, Arthur Joseph Meadows captures a tranquil sunrise on the river Maas just below the historic city of Dordrecht (“Dort”). The...

Attributed to Hendrik Hollander (1823-1884). This exquisite example of 19th-century European genre painting portrays a noble couple engaged in reading within a luxurious interior sce...

Monogrammed lower left: Johan Philip Korn (1728 - 1796), was a Swedish painter. A beautiful landscape, with a backwater in which carefree ducks swim, hunters and their dogs in passion, in the background you can see a city with a bell tower. Old masters have been depicting animals in their paintings since the Renaissance. In those days, hunting scenes were popular - there is always a share of emotional participation in them. Here it is necessary to understand that in previous centuries people looked at hunting as a means of obtaining food, therefore naturalism dominates in the painting of the old masters. Old oil painting on wooden panel, in a non-original frame of the 19th century. Size app.: 49 x 64 cm (roughly 19.3 x 25.2 in) and nice golden gesso frame ca 65.5 x 81.5 cm (roughly 25.8 x 32.1 in). Very Good condition, age wear, cracks on a wooden board, minor losses, retouches, cleared and conserved. Please study good resolution images for overall cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 6.4 kg is going to measure some 10 kg volume weight packed for shipment. Johan Philip Korn first began his career as a decorative painter. He was a student of artist Johan Sevenbom (1721-1784). After further studies he changed to landscape painting in the Rococo style of French artist François Boucher (1703–1770) and often after Dutch copper engravings. In 1759, Korn became master of the Stockholm...

This luminous gouache captures a majestic mountain vista, likely set in California’s Sierra Nevada (possibly Yosemite). Two broad granite peaks with sunlit faces dominate the backgro...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

This intimate plein air study by Olof Arborelius captures the quiet beauty of a sunlit forest edge reflected in still water. The confident, spontaneous brushwork and delicate handlin...

Signed on the bottom right is "J. Braze", Osip Emmanuilovich Braz (1873 - 1936), renowned as a Russian-Jewish realist painter. As the scene unfolds on the canvas, we witness the gran...

Fritz Lindström (1874–1962) Mountain Landscape (Pyrenees), 1928 oil on panel unframed 15.5 × 24 cm (6.1 × 9.4 in) framed: 26 × 34 cm (10.2 × 13.4 in) signed on the reverse Frame by...

This evocative oil painting, titled Studio Muse, depicts a seated nude in a quiet moment of contemplation. The model is shown in profile, resting on a simple wooden stool against a n...

This atmospheric landscape from 1910 offers a rare glimpse into a lesser-known side of Sam Uhrdin’s work. Painted before his formal art education, the canvas reveals an emerging arti...

Portrait of an Architect at His Desk, 1798 Oil on canvas, relined. Signed “C A Lorentzen 1798.” The composition depicts an architect seated at his desk, surrounded by drawings and pa...

Winter Landscape with Red Cottage by Otto Lindberg 1930 This oil on canvas, signed and dated “Otto Lindberg 1930”, captures a serene winter scene in Sweden. A low winter sun filters ...

This captivating painting by the Swedish-Danish artist Axel Lind offers a serene and introspective view from the artist's studio on Lidingö, Stockholm. The c...

Jonas Carl Linnerhielm (1758–1829) Hagbynäs Dated and titled “1779 in Aug. Vid Hagbynäs” Red chalk on paper
21.3 × 33.4 cm (8.4 × 13.1 in.) with frame 40.5 x 51 cm (15 ⁷/⁸ x 20 ⅛ i...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

This charming British oil painting by David Charles Jenkins (1867-1916) captures a serene countryside landscape bathed in the gentle glow of sunset. The composition leads the eye alo...

Ferdinand Boberg (1860–1946) View from Strandvägen towards Djurgården, Stockholm Watercolor on paper signed BOBERG - STOCKHOLM - c. 16 x 22 cm (6 ¼ x 8 ¾ in) framed 33 x 38 cm (13 ...

A finely sculpted dark bronzed wall relief plaster sculpture of Virgin Mary by Arvid Knöppel, signed and dated 1921. An unusual subject of his...

In this atmospheric landscape at sunset, Fredrik Lagerström captures a fleeting twilight moment with vivid intensity. The sky is aglow with brilliant gold and amber hues, which are m...

Introducing "Northern Serenity" by renowned Swedish artist Per Julius (born 1951). This captivating painting captures a serene landscape from the northern r...

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

This exquisite painting, titled "Rocky Path With Figures" is a captivating example of Thomas Barker of Bath's talent. Despite its small size, measuring only 13 x 11 cm, this piece sh...

This evocative orientalist oil painting captures the vibrant atmosphere of a North African marketplace in the early 1900s. The painting depicts a street with a perspective toward a t...

Introducing "Scandinavian Winter Landscape, 1907" a mesmerizing painting by the artist Arthur Percy Carlsson, later known as Arthur C:son Percy (1886-1976). Born in Vickleby, Öland, Percy's artistic journey was one defined by unwavering determination and exceptional talent. This landscape painting presents a winter landscape, likely set during the early spring season. The canvas portrays a vast, snow-filled meadow, blanketed in pristine white. Above, the sky comes alive in a captivating pointillist style, with hues of blue, turquoise, and yellow forming delicate, scattered dots, while small clouds grace the horizon. The scene unfolds with an enchanting backdrop of a distant forest, its trees adorned with a touch of winter's charm. Between the enchanting forest and the expansive meadow, a few humble houses...

Flemish 1600s School The Card Players oil on oak panel panel dimensions 22.5 x 20 cm frame included Provenance: From a Swedish private collection. Condition: Flat and stabl...

This captivating winter landscape was painted in early 20th century, signed lower left "W.L. Palmer", attributed to American Impressionist Walter Launt Palmer (1854–1932). Trained in...

Painting is signed for acknowledged artist Niels Holbak 1884-1954, who educated at the Art Academy in Finland 1909-10 and was taught at the Art Academy in Copenhagen from 1912-1914 a...

The present painting, Autumn mood in the garden by the female artist Elisabeth Warling (1858–1915) is a fine example of her impressionistic works. Signed "Elisabeth Warling" and with...

Portrait of Gustaf Wilhelm Palm (1810–1890) by Lorenz Frølich (1820-1908) Signed with monogram and dated May 1849. Pencil and pastel on paper. 29.5 × 21 cm. This portrait of the Swed...

The small yet stirring painting "Landscape With Mill at Sunset" showcases the remarkable talent of Swedish painter Mauritz Lindström. He was a resp...

This painting depicts a pastoral scene that is attributed to the artist Jan Frans Soolmaker, an artist known for his Italianate landscapes and scenes that often feature equestrian and Arcadian elements. The painting is not signed but is attributed to Soolmaker, relating it to a known signed work by the artist that was sold at Sotheby’s London in 1999. The scene is suffused with the warm glow of a setting or rising sun, casting a soft light that is characteristic of Soolmaker’s landscapes. It shows a shepherd guiding a group of cattle across a shallow stream, with the animals taking center stage in the composition. The animals are rendered with careful attention to their forms and the play of light on their bodies, which is a hallmark of Soolmaker's work. The landscape is composed of a rocky terrain with trees and shrubbery, creating a sense of depth and natural beauty that invites the viewer to explore the scene further. The background suggests a vast, open landscape with distant mountains, which adds to the Italianate feel of the painting. The sky is dramatic, with clouds catching the light of the sun, contributing to the overall serene yet dynamic atmosphere of the work. The provenance of the painting is notable, having been in the possession of significant historical figures such as Swedish Prince Fredrik Adolf, and later The collection of Pär Ulmgren, The collection of Gösta Stenman, and Engineer and politician Gustaf Henry Hansson. Potential buyers have the option of choosing between a newly made gold frame or an older brown frame, which allows for personalization in how the work is presented. Soolmaker’s work is often compared to that of Dutch painter Nicolaes Berchem, whose style he emulated. Soolmaker's landscapes reflect a similar sensitivity to light and composition, making his works sought after for their beauty and historical significance. Despite the smaller body of work left by Soolmaker, due to his short career, his paintings are valued for their craftsmanship and the legacy of the artist’s brief but impactful contribution to the Dutch Italianate landscape genre. Information: Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep...

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...

A vibrant painting depicting an avenue lined with poplar trees in fall colors, prominently featuring a very large, centrally placed yellow poplar. Possibly an American poplar. The artist, Agda Holst, has employed a diverse palette of colors to the poplars, creating a dynamic and colorful composition. This oil on panel is signed and dated by Holst in 1948. The work exemplifies her use of color and form, characteristics that defined her artistic practice throughout her career. Agda Holst was a Swedish modernist painter known for her precise study of form, stylized compositions, and ability to merge structured geometry with expressive color. Her works, often still lifes, portraits, and figure studies, reflect a balance between naturalistic representation and modernist influences such as Cubism and New Objectivity. Holst's artistic journey began in 1907 at the Académie Colarossi in Paris, where she studied under Christian Krohg. Seeking further refinement, she moved to Munich between 1910 and 1911, studying with Julius Exter, known for his teachings in portrait and genre painting. In 1911–1912, she returned to Paris to study under Kees van Dongen, whose bold use of color and strong contrasts left a lasting impression on her work. The early 1920s marked another period of study in Paris, this time under André Lhote, who instilled in her a structured approach to composition and geometric clarity. Holst’s first public exhibition took place in 1916, when she displayed paintings in a bookstore...

This exceptional mid-19th century pastoral oil painting, after Eugene Verboeckhoven's celebrated composition "Passing the Brook," depicts a serene rural scene where cows and sheep cr...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

This atmospheric winter painting depicts a solitary wooden building, likely a small workshop or riverside shed, situated beside a partially frozen waterway. Snow blankets the ground ...

This luminous landscape painting by Oscar Lycke captures the rolling hills and deep forests of northern Sweden, likely from the Sundsvall region. The foreground is dominated by lush ...

This captivating early 19th century antique oil painting presents a beautifully executed pastoral scene by an unknown but undoubtedly professional English master - signed lower left ...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and cap...

This evocative landscape by Axel Edvard Peter captures the serene beauty of nature with remarkable skill. Painted in 1918, the scene depicts a wooden rowboat resting in still waters beneath the sheltering branches of a lush tree. The dappled sunlight filtering through the foliage creates a mesmerizing interplay of light and shadow, while the artist’s use of short, expressive brushstrokes imbues the composition with a vibrant, almost impressionistic quality. The rich greens and golden hues of the landscape reflect Peter’s mastery of color and atmosphere. Axel Peter was a Swedish painter known for his distinctive artistic voice, shaped by his studies at the Royal Academy of Fine Arts in Stockholm and further training in Paris and Germany. He was part of the influential Opponents’ Movement (Opponentrörelsen) of 1885, alongside artists such as Richard Bergh, Nils Kreuger, and Eugène Jansson...

Still Life with Apples is an exquisite still-life painting that captures a quiet moment of abundance and peace. On a humble wooden table lies a cluster of ripe apples, their rosy and...

A fine Italian watercolor and sepia drawing, an allegory of summer. People harvesting, eating and drinking in a hilly landscape, probably by Antonio Grano (c.1669-1718). In the fron...

Hjalmar 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 ...

This poignant portrait by Swedish artist Nina Bergstedt captures a quiet intensity that lingers in the viewer’s mind. The sitter, an unknown woman, is portrayed with deep emotional p...

Carl Oscar Borg (1879–1947) An Old Military Road, The Road over Dovrefjell, Norway gouache on paper, ca. 1900 signed sheet 12.5 cm x 17.5 (4.9 x 6.9 in) framed 23 × 28 cm (9 × 11...

This luminous painting by Oscar Lycke captures a tranquil sunset scene deep within a Nordic forest. The warm, golden light of the setting sun filters through the dense spruce trees, ...

Signed lower left and dated: 15/IX, 1895, Y. Bershadsky - Yuliy (Ioil-Ruvin) Rafailovich Bershadsky (1869 - 1956), Russian - USSR painter and teacher, professor, honored artist of th...

Jan Frans Soolmaker (Flanders 1635‑1685) Shepherd with Sheep, Cows and a Goat in a Landscape oil on relined canvas canvas size 56 x 53 cm frame i...

This study presents multiple views of goats and sheep drawn across a single sheet. Lundgren depicts the animals in different poses – a light-colored goat standing in profile, a dark ...

Literary Origins of Angelica The subject of this painting is Angelica, a princess from the epic chivalric romances of the Italian Renaissance. She first appears in Matteo Maria Boiardo’s Orlando Innamorato (1483) and reappears famously in Ludovico Ariosto’s Orlando Furioso (1532). In these poems – part of the Matter of France cycle of Charlemagne and his paladins – Angelica’s extraordinary beauty ensnares many knights, including Orlando (Roland) and his cousin Rinaldo, sparking rivalries and adventures. Ariosto’s narrative particularly highlights Angelica’s tumultuous journey: at one point she is stripped and chained to a rock as a sacrifice to a sea monster (a scene mirroring the myth of Andromeda) before being dramatically rescued by the valiant knight Ruggiero on his winged horse. Ultimately, however, Angelica chooses her own destiny. She falls in love with a humble Saracen soldier, Medoro, whom she nurses back to health, and she returns with him to her far-off Asian kingdom – an affair that drives the heartbroken Orlando to madness. This independent resolution (marrying outside the circle of Christian knights) made Angelica an emblem of feminine agency and romantic idealism in Renaissance literature. Her story remained popular in art and literature through the centuries, symbolizing the allure and elusiveness of love. Kronberg’s Portrayal and Composition In Julius Kronberg...

We are proud to present an exquisite drawing by the renowned artist Christian Berg (1893-1976), executed around the 1920s. This captivating artwork port...

Hilding Werner (1880–1944) Sweden Solnedgång (Sunset), 1897 watercolour on paper signed and dated lower left H. Werner 1897 Inscribed Solnedgång (“Sunset”) on the reverse. the shee...

Sketch (or Non-Finito work) done by an unknown Scandinavian professional artist in a semi-modernist manner. A tender scene of family harmony, a daughter sits in her mother’s arms, co...

We are pleased to offer an exquisite painting by Finnish artist Reino Partanen (1889–1972), titled Birch Trees and Snow-Laden Spruces. Created in 1927, this impressive work measures ...

In this luminous landscape, Oscar Lycke invites us to experience the serene vastness of Sweden’s northern interior. Likely painted in the region surrounding Liden along the Indalsälv...

Artist: Adriaen van Stalbemt (Stalbempt) 1580-1662 Title: Abraham and the Sacrifice of His Son Isaac “Das Opfer des Abraham” According to the Old...