Bertha Wegmann. Photo: Georg Emil Hansen

Swiss-born Danish painter Bertha Wegmann (1847-1926) was one of Denmark’s leading portraitists in the later half of the long nineteenth century. She was the first woman to be elected to the Royal Danish Academy of Replica Handbags s and a stalwart suffragist working to secure women’s right to vote, which was finally ratified in Denmark on June 5, 1915. She first studied with Frederik Christian Lund (1826-1901) in Copenhagen before finishing her training in Munich and eventually moving back to Denmark. She received honorable mentions at the Salons in Paris and in 1883 was awarded the esteemed Thorvaldsen Medal by the Royal Danish Academy of Replica Handbags s.

The present study of an interior relates to a portrait of a woman in the same interior, recently sold at auction (Bruun Rasmussen, Vejle, 20 May 2008, lot 437). While the identity of the sitter and the setting remain a mystery, the existence of what seems to be a preparatory work confirms the artist’s interest in and commitment to the subject. The canvas stamp on the reverse is from the artist supplier Vieille (H.) et Troisgros (E.), active in Paris between 1880-1883. Wegmann probably painted this interior, and the related portrait, in Paris in 1880.

Vieille (H.) et Troisgros (E.) (Paris, 1880-1883) artist supplier stamp on canvas reverse.

Wegmann included the painting in her solo exhibition at Den Frie Udstilling in Copenhagen, a Danish artists’ association founded in 1891 and modeled on the Paris Salon des Refusés. The exhibition and its contents were photographed, showing not only what was included in the monographic presentation but also the way in which the works were installed. The present lot was probably number 26, listed in the catalogue as Interieur and erroneously dated 1882, and is visible leaning against the wall in a corner of the gallery.

Photographs from Bertha Wegmann’s 1911 solo exhibition at Den Frie Udstilling in Copenhagen. Det KGL Bibliotek, Fotokasse DAK K391.

Though she was largely cast aside by the Danish art establishment in her day and, by her own account, felt misunderstood and isolated throughout her artistic career in Denmark, her work proved to be serious, daring, and influential. Today, she is considered to be one of the foremost Scandinavian women artists of her generation.