Sigrid Hjertén, In the box (Woman on red background), 1913. Oil on canvas, 100 × 73 cm.

Autumn Exhibition
2026
7–28 november

Opening hours Mon – Fri 10–18 Sat 12–16

In keeping with Åmells’ tradition, this year’s Autumn Exhibition presents highlights of Nordic art. Our finest landscape painting is represented by Helmer Osslund’s depictions of the enchanting northern wilderness, Bruno Liljefors’ observations of the movements of wild animals, and Inge Schiöler’s coloristic archipelago scenes. Åmells is especially pleased to present Julia Beck’s landscape, Autumn Forest from Grez painted in 1885—a pivotal year for Swedish visual art, marked by the breakthrough of the "Opponents" at Blanch’s Art Salon in Stockholm, following the new currents in the European art world.
Landscape artist Anna Palm explored the cityscape, and her highly detailed paintings in this exhibition capture the new Stockholm. From the mid-1850s, Stockholm had begun its transformation from a city defined by overcrowding, poverty, and economic stagnation into a modern European metropolis. Palm observed the richness of the urban space, teeming with people, animals, and vehicles. She was particularly fascinated by the activity on Lake Mälaren in the heart of the city; the water and its boat traffic serve as a central motif in nearly all her Stockholm views.

A diverse range of styles and subjects fills the Åmells exhibition galleries this November. We are showcasing a modernist gem by GAN (Gösta Adrian-Nilsson) titled Red Cavalryman (1925), created while the artist was still living in Paris—a period during which he revisited the theme of uniformed men. A rarity of an entirely different kind is Danaë and the Golden Rain, a work by 17th century artist David Klöcker Ehrenstrahl and his studio. In his capacity as court painter, Ehrenstrahl created numerous royal portraits and commemorative works depicting scenes from the lives of the royal family; however, he personally preferred mythological subjects, such as the one seen here. A familiar favourite is included in this autumn’s selection: Per Hasselberg’s sculpture The Frog (La petite grenouille) presented here in a plaster version dating from between 1887 and 1889. The artist exhibited this very version—the one now held by Åmells—at the most renowned world fair in history, the 1889 Exposition Universelle in Paris.

Each of the approximately forty works in this exhibition has its own story—we invite you to Åmells and discover them!

Click to read the catalogue

READ THE CATALOGUE HERE (IN SWEDISH)

Selected Works

Julia Beck, Autumn Forest at Grez,
Oil on canvas, 46,5 x 57 cm. Signed and dated ”Julia Beck Grez -85”.

Julia Beck

Autumn Forest at Grez

Julia Beck (1853–1935) was one of the few female artists in the late 19th century who succeeded in making a living from her art. After studying in Stockholm, she settled in France, where she became part of the artists’ colony at Grez-sur-Loing and developed a style shaped by the light and airy palette of Impressionism. Through delicate colours and atmospheric depictions of woodland, water and nature, she captured the changing moods of the landscape. Autumn Forest at Grez is a fine example of her independent artistic vision and her ability to combine Impressionist treatments of light with a quiet, poetic sensibility.

Gösta Adrian-Nilsson, GAN, Red Cavalryman,
Oil on canvas, 44 x 33 cm. Signed ”GAN”. Executed in 1925.

Gösta Adrian-Nilsson

Red Cavalryman

Gösta Adrian-Nilsson (GAN, 1884–1965) was a pioneer of Swedish modernism, whose vivid colours and geometric visual language combined influences from Expressionism, Futurism and Cubism. During his years in Paris from 1920 to 1925, he developed a distinctive style in which uniformed men became a recurring motif. In Red Cavalryman (1925), he depicts a cavalryman associated with Malmö and the K7 Scanian Cavalry Regiment. Through bold colours, geometric forms and decorative patterns, GAN transforms the subject into a dynamic composition that brings together memories of Sweden and the modernist visual language he developed in Paris.

Bruno Liljefors, Moose in the Morning Mist
Oil on canvas, 90 × 130 cm. Signed ”Bruno Liljefors.”.

Bruno Liljefors

Moose in the Morning Mist

Bruno Liljefors (1860-1939) devoted his life to depicting the wildlife and landscapes of the Swedish countryside. His years at Österbybruk in Uppland were among his most productive, inspiring a rich body of paintings shaped by close observation of nature. In his later years, declining health increasingly confined him to his Stockholm studio, where he recreated the landscapes and wildlife he remembered so vividly. Moose in the Morning Mist is a fine example of these evocative recollections, depicting a moose family in an autumn landscape where delicate light, muted colours and misty contours lend the scene both a sense of realism and a dreamlike atmosphere.

David Klöcker Ehrenstrahl, Danaë and the Shower of Gold,
Oil on canvas, 62 x 102 cm.

David Klöcker Ehrenstrahl

Danaë and the Shower of Gold

David Klöcker Ehrenstrahl (1628-1698), often regarded as the father of Swedish painting, was a court painter and a central figure in the development of Swedish art during the 17th century. In addition to royal portraits and animal paintings, he created allegorical compositions inspired by mythology and history. In Danaë and the Shower of Gold, he depicts the Greek myth of Princess Danaë, who is visited by Zeus in the form of a shower of gold. With its rich symbolism and dramatic narrative, the painting reflects an artistic tradition in which mythological scenes offered scope for both visual splendour and allegorical interpretation.

Fanny Brate, Floral Still Life
Oil on canvas, 55 x 45 cm. Signed and dated ”Fanny Ekbom 1927”.

Fanny Brate

Floral Still Life

Fanny Brate (1861–1940) is best known for her delicate, luminous depictions of family life and everyday scenes in late 19th-century Sweden. Using a light palette, soft tones and characteristic blue shadows, she created atmospheric paintings marked by realism and an idyllic sensibility. Floral still lifes also became an important part of her artistic practice, particularly in her later years. In this colourful still life of a bouquet of garden flowers in a glass vase, she brings together the varied shapes and hues of the blooms with the crumpled pink cloth beneath them, exploring its subtle shifts in colour and texture.

Sigrid Hjertén, In the box (Woman on red background)
Oil on canvas, 100 × 73 cm. Signed ”HJERTÉN”. Executed in 1913.

Sigrid Hjertén

In the box (Woman on red background)

Sigrid Hjertén (1885–1948) explored the different roles and identities of women through a modern visual language characterised by simplified lines, bold compositions and expressive colour. Inspired by Henri Matisse, she moved away from traditional ideals, placing the interplay and contrast of colours at the heart of her work. In In the Box (Woman On Red Background), she depicts a woman seated in a theatre box, her blue dress set against fields of rose-red and yellow. The vivid complementary colours and decorative composition create a dynamic whole, exemplifying Hjertén’s distinctive modernist style.

See the artworks in our online gallery

Autumn Exhibition20267–28 november