Carl Larsson

Lisa Mannheimer, Gothenburg
Axel Mannheimer, Gothenburg

Stockholm, Liljevalchs Konsthall, Invigningsutställning, 1916, no. 89 Stockholm, Liljevalchs Konsthall, Carl Larsson-100 å, Minnesutställning, 1953, no. 762
Göteborg, Göteborgs Konstmuseum, Carl Larsson, 1971, no. 97
Modum, Blaafarveværket, (Norway), Sommaren med Carl Larsson, 1989, no. 67
Århus, Aarhus Kunstmuseum, Julen med Carl Larsson, 1988−1989, n.n.

Ernst Malmberg, Larsson – Liljefors – Zorn. En återblick, Stockholm, 1919, illustrated
Ulwa Neergaard, Carl Larsson − Signerat med pensel och penna, Stockholm, 1999, vol. II, p. 130, no. 1395; p. 467, illustrated in colour
Michael Snodin and Elisabet Stavenow-Hidemark, Carl and Karin Larsson, Creators of the Swedish Style, London, 1999, p. 182, no. 217, illustrated in colour

Original canvas. There are scattered minor flecks of retouching to the cream background, and old inventory numbers (originally written on the reverse in invisible ink) are visible only under ultraviolet light. Apart from some light handling marks at the lower edge below the signature, this work is in very good condition, with a clean, fresh surface and fine detail, and ready to hang. Held in a simple, wide, gold-painted moulded plaster and wood frame with a beaded inner accent.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1910, the present work depicts Esbjörn, Carl and Karin Larsson's seventh child and youngest son aged ten years old.

His pose is a prelude to Larsson's famous Breakfast in the Open in the Konstmuseum, Norrköping that shows three generations of the Larssons' family and friends gathered for breakfast at Bullerholmen, the small island opposite the family home at Lilla Hyttnäs (fig. 1). 

In the present work Esbjörn takes up the same position as in the Norrköping painting, his back to the viewer, arms around his knees seated on the ground. Unlike the larger composition, however, in the present oil Esbjörn's youth is not contrasted with the be-whiskered laplander in traditional costume. Instead, all the focus is on his contemporary outfit. Dressed not in a traditional country smock, nor even in a sailor suit reserved for special occasions, Larsson paints his son in the strikingly contemporary design of shorts and shirt in two different stripes. The style follows the introduction at the turn of the century of more comfortable children's clothes, an area that Karin, Larsson's wife, was at the forefront of in her textile design and manufacture.  

Like the present depiction of Esbjörn, Larsson completed other parts of the Norrköping painting as separate compositions. These included the central figure of the laplander and his portrayal of his eldest child Lisbeth (fig. 2).

A present from Karin's father in 1888, Lilla Hyttnäs became Carl and Karin's ideal home, and in the years that followed Larsson's primary source of inspiration.   

Fig. 1, Carl Larsson, Frukost i det gröna (Breakfast in the Open), 1910-13, Konstmuseum, Norrköpings

Fig. 2, Carl Larsson, Lisbeth vid björken, sold in The Scandinavian Sale, Sotheby's, London, 27th June 2007, lot 414

Fig. 3, The present work hanging at the exhibition Invigningsutställning at Liljevalchs Konsthall, Stockholm in 1916