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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
May 22, 2022 | Stockholms Auktionsverk | Stockholm | Helsinki Spring Sale | 1910707 | $****** - ****** | Viking ship |
paintings
55 x 130 cm (21.65 x 51.18 in)
oil on canvas, oil on canvas
signed; signed; 55x
ALBERT EDELFELT. Viking ship, signed, oil on canvas, 55x130 cm.
Purchased directly by the artist for the current owner"s family Viking ship, oil on canvas, signed, 55x130 - literature: the painting is cataloged in the book "Albert Edelfelt" no. 729 (Hintze 1942) - exhibitions: Finnish artists" exhibition 1896 no. 25 - Studies and drawing for the original frame can be found in Edelfelt"s sketchbook no. 50 at the Ateneum. In the 1890s, Albert Edelfelt followed Axel Gallén"s success with his Kalevala interpretations with great interest. Via Gallén, he came in Berlin, in the spring of 1895, into contact with the zealots of the Pan magazine. The discussions revolved around the young Germanic symbolist painting. Edelfelt was summoned as one of the columns of the new magazine Pan, but he thought that the artists were very young and inexperienced and that they were hypnotized by what "for this quarter of an hour is considered modern in Paris, London, etc" (letter to mother from Berlin 24.2.1895 ). During the years 1894-95, Edelfelt illustrated JLRuneberg"s Kung Fjalar, which according to Michel Ekman is a work of poetry where violence and conflicts have no solution. King Fjalar, which was widely admired a century ago because it was considered well-written and beautiful, is seen in today"s perspective as a typical example of Runeberg"s writing, where he allows sexuality to break down man"s attempt to create a socially functioning existence. Fjalar"s utopia excludes change. The king swears an oath to refrain from war and violence. This utopian world of peace offended the Viking gods who retaliated with incest. Finally, Fjalar died by his own hand on his own sword. We see this scene in the fund of Magnus Enckell"s coloristic portrait of Albert Edelfelt (1909, Nylands Nation). In Nylans Nation"s stairwell on Kaserngatan in Helsinki, there is an impressive stained glass painting based on Albert Edelfelt"s drawing "The Viking Ship". This Svekoman theme, with ideological roots in national curator and inspector Axel Olof Freudenthal"s great interest in the issue of Swedishness, he began as early as 1894-95 with the illustration work for King Fjalar. As a counterpart to Gallén"s Kalevala zeal, this Edelfelt project should be scrutinized. Alexander III had died and the political climate changed. Edelfelt, whose father came from Sweden, considered himself a Swedish-speaking Finn, he refused to enroll in the Young Finns party, even though his attitude changed slightly during the Russification period. The people and lineage were the central theme in Runeberg"s works as well, and Edelfelt builds on this further in his design language. In Edelfelt"s Viking ship, also executed for the nation"s publication in 1896 as a print, we see a unique example of his ability to stylize according to the newest trends in European art. Edelfelt read the magazine The Studio extensively and followed the new forms of expression of the Arts and Crafts movement and Englishmen such as Ruskin and Morris. He read the Edda in German and also immersed himself in the national Swedish neo-Gothist history painting from the 19th century. The Viking cult was worshiped among the Scandinavian artists in Paris, and there he had the opportunity to see both miniature boats and other studio props. The Viking ship"s red sail symbolizes blood and was intended to frighten the enemy. The dramatic sky and the foaming sea underline the archaic strength of this, from an art historical point of view, extremely deviant painting in Edelfelt"s production. In comparison with Gallén, we see that Edelfelt was already a forerunner of the symbolist stylization in 1895. (text: Edelfelt researcher FM Marina Catani).
