Vilhelm Hammershøi

Ida Hammershøi's sister (the artist's sister-in-law),
Thence by descent to the present owner, granddaughter of the above

Copenhagen, Ordrupgaard, Vilhelm Hammershøi. En retrospektiv udstilling, 1981, no. 127
New York, The Wildenstein Institute; Washington D.C., The Phillips Collection, Vilhelm Hammershøi. Painter of Stillness and Light, 1983, no. 72, illustrated

Poul Vad, Hammershøi.Værk og liv, Copenhagen, 1988, p. 390, catalogued & illustrated

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Structural Condition The artist's canvas has been lined onto a new wooden keyed stretcher. The original canvas overlaps on the reverse of both the vertical turnover edges. The structural condition is sound and stable. Paint surface The paint surface has an even varnish layer. Inspection under ultra-violet light shows small scattered retouchings which are predominately on the right side of the composition in the window and door frame. The largest area is in the lower right, on the door, and measures approximately 1.5 x 1 cm. There is also a very thin diagonal line just above the woman's head. Other retouchings are just minimal spots or lines. Summary The painting would therefore appear to be in good and stable condition and no further work is required.
"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 during the summer of 1911, this double portrait of Hammershøi and his wife Ida (lot 105) was made at Spurveskjul, the country house Hammershøi rented. This two-storey house in Lyngby, a few miles north of Copenhagen, was built as a summer residence in 1805 by the Danish painter Nicolai Abildgaard (1743-1809). The house was stylish, spacious and luxurious compared to the more humble country residences in which Hammershøi and Ida had spent their previous summers.

Although Hammershøi traditionally spent his summers painting landscapes, the house became an ideal environment and subject for Hammershøi's aesthetic expression. The 'great hall' on the first floor provided a different sense of space and light than the artist was used to in his Copenhagen apartments. With windows and doors that faced the garden and a barrel-vaulted ceiling, the space was appealingly unfamiliar and stimulating. It would appear that this room held an oval mirror, which he incorporated into at least two other paintings that same year: Balkon and Ida in an Interior. 

The palette of the present work ranges between shades of violet, white and grey, and is imbued with the artist's typical emotional nuances. Hammershøi paints himself in the shadows of a cool, dark room, observing himself and the scene with almost melancholic detachment, while Ida is connected to the light of the world outside the room, towards which she gently inclines. According to Bramsen, Spurveskjul was so alluring to Hammershøi that he initially considered buying it, but '... before the summer was over, the spell had broken and he never came to live there.'