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Lot Essay
This extensively exhibited work was originally owned by the pioneering Danish women’s rights activist and influential leading member of the Kvindelig Læseforening (Women Reader’s Association), Sophie Alberti. Alberti also played a central role in the ground-breaking Women’s Exhibition in Copenhagen in 1895, where Wegmann exhibited. Bertha Wegmann was linked to Sophie Alberti through her own activism. She made her final residence in the Damehotel (Ladies’ Hotel) run by the association, but prior to this, Wegmann drew Sophie’s portrait and it was hung in the Kvindelig Læseforening in 1913. The portrait now resides in the Museum of National History at Frederiksborg Castle.
Alongside the present lot, Sophie Alberti owned Bertha Wegmann's Daffodils (oil on panel, Private collection), depicting wild daffodils presented in a glass in a dark interior. By contrast, the background in the current painting uses a lighter palette forming gradations of grey tones, occasionally heighted with spots of yellow. Such a palette is reminiscent of the work of fellow Danish artist Vilhelm Hammershøi in the early 20th Century. Rather than presenting a simple bouquet of Roses, Wegmann delights in displaying her skill as a painter in her subject matter; each rose is shown at a different point in its life- from the deep red tones of the budding rose through the spectrum of lighter and richly layered pinks and whites as other stems flourish into bloom.
Bertha Wegmann played an active role in the struggle for Women’s rights as a member of the governing body of the School of Drawing for Women between 1887 and 1907, during which time the current work was painted. This large scale painting exhibits a a tour-de-force of the Impressionist style which she has witnessed in Paris during the 1880s, mixed with a graceful capturing of the natural roses. Indeed the sweeping fast brushstrokes which form the background are reminiscient of the brackground to her portrait of her close friend, Toni Möller, with thier dog 'Fukki' (oil on canvas, 1904, Private collection).
Alongside the present lot, Sophie Alberti owned Bertha Wegmann's Daffodils (oil on panel, Private collection), depicting wild daffodils presented in a glass in a dark interior. By contrast, the background in the current painting uses a lighter palette forming gradations of grey tones, occasionally heighted with spots of yellow. Such a palette is reminiscent of the work of fellow Danish artist Vilhelm Hammershøi in the early 20th Century. Rather than presenting a simple bouquet of Roses, Wegmann delights in displaying her skill as a painter in her subject matter; each rose is shown at a different point in its life- from the deep red tones of the budding rose through the spectrum of lighter and richly layered pinks and whites as other stems flourish into bloom.
Bertha Wegmann played an active role in the struggle for Women’s rights as a member of the governing body of the School of Drawing for Women between 1887 and 1907, during which time the current work was painted. This large scale painting exhibits a a tour-de-force of the Impressionist style which she has witnessed in Paris during the 1880s, mixed with a graceful capturing of the natural roses. Indeed the sweeping fast brushstrokes which form the background are reminiscient of the brackground to her portrait of her close friend, Toni Möller, with thier dog 'Fukki' (oil on canvas, 1904, Private collection).