Lot 23
  • 23

VILHELM HAMMERSHØI | Interior, Strandgade 30

400,000 - 600,000 GBP
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  • Vilhelm Hammershøi
  • Interior, Strandgade 30
  • signed with initials lower right
  • oil on canvas
  • 41 by 33cm., 16 by 13in.


Martin Levin (by 1918)
Sale: Bruun Rasmussen, Copenhagen, 1978, lot 376
Purchased at the above sale by the present owner


Alfred Bramsen & Sophus Michaëlis, Vilhelm Hammershøi. Kunstneren og hans værk, Copenhagen & Christiania, 1918, p. 100, no. 233


The following condition report has been prepared by Hamish Dewar Ltd., 13 and 14 Mason's Yard, St James', London, SW1Y 6BU: UNCONDITIONAL AND WITHOUT PREJUDICE Structural Condition The canvas is unlined on the artist's keyed wooden stretcher. There is a stain running vertically down the reverse of the canvas which has not affected the overall structural stability and the canvas is sound and secure. It is obviously most encouraging to find the canvas in its original unlined state. Paint surface The paint surface has an even varnish layer and only the most minimal spots of retouching are identifiable under ultraviolet light. There are very small spots around the outer turnover edges and one small spot 1 cm above the lower horizontal turnover edge. Summary The painting would therefore appear to be in very good and stable condition with minimal intervention in the past and no further work is required.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Catalogue Note

Painted in 1902, this work belongs to the series of views painted by Hammershøi in his apartment at Strandgade 30 in the mercantile district of Christianshavn in Copenhagen, an address that was to play a critical role in the development of the painter’s singular aesthetic. Hammershøi and his wife Ida occupied the apartment from 1898 until 1909, and during this decade its sparsely furnished interconnecting rooms, grey walls and solid white-painted doors provided the setting for some of his most recognisable compositions. Hammershøi painted the present view, of the dining room at the front of the apartment, in numerous guises, on occasions with Ida or the maid, and furnished with tables and chairs, by times pared down to its absolute essentials (fig. 1). Either way, the result was to create compositions that were not so much narratives of domestic life as poetic symphonies of tone and light. Hammershøi's subtle use of light, muted tones and choice of subject are clearly indebted to the Dutch seventeenth-century master Johannes Vermeer. Both artists favoured depictions of single female models posed in a simple room with an indirect light source. Hammershøi travelled to Holland in 1887 where he would have seen Vermeer's works first-hand. Like Vermeer's, Hammershøi's models adopt the same unselfconscious pose in calm, hermetically sealed interiors. Hammershøi's influence, in turn, can be felt in the works of succeeding generations of artists, architects, and film makers, including Edward Hopper, whose haunting interiors evoke a similar atmosphere of solitude and mystery; Ida Lorentzen, and Gerhard Richter.