The Old Street Vender (1900's)

Henningsen, Erik Ludvig (1855 - 1930)

The Old Street Vender

Canvas Giclee

10"x8" $125.00
14"x12" $215.00
20"x16" $400.00
25"x20" $565.00
30"x24" $785.00
34"x30" $1,085.00
36"x32" $1,225.00

Paper Giclee

10"x8" $30.00
19"x13" $65.00
22"x17" $99.00

Oil on Canvas: 25" x 21"
Catalog# HENE-024

Early 1900's

An old woman sits in her vending shack reading the paper while her aproned assistant stands ready to do business with the two children digging in their pockets for loose change. The vendor offers candies, fruit and pastries - quite a treat on such a chilly evening. The scene is lit by a single lantern she uses for reading as the sun has now set. There is a wood-planked fence behind the table-clothed display of delights separating the little shop and the rooftop silhouettes behind the tree line. The composition is chilled as the figures huddle into their layers of clothing and the bare fingers of the weathered trees reach for the cold night sky - an ambient blue that offers an incandescent backdrop for this dusky scene. The old vendor is protected from the elements in her meager shelter made of wood and nails. There is exceptional detail in her face - every line, wrinkle and chapped cheek offers a glimpse into her life as a street vendor, her years battling the rain and winds of Danish winters. The young girl has a shawl over her head to shield her face from the cold; while the young boy, warmed by his baggy layers, leaves his head exposed and revealed by the dim light of the lantern. The young apprentice stands with elbows bent, hands gripping his apron, in a very grown-up manner that demands respect from his young peers. He dons a white shirt with rolled up sleeves, a long, dark apron and black cap over his blonde hair. His face is also executed with fine, detailed strokes - glowing in the amber light of the lantern.

Henningsen has painted a scene of humble, everyday life with wonderful detail and precise strokes, making this realist scene marvelous to observe and rare experience since the majority of his works are executed with quick and loose strokes. The depth in this piece offers the viewer a true glimpse into this cold, Danish night.

Henningsen, Erik: (1855-1930)

Erik Henningsen was educated at the Copenhagen Royal Academy of Art. He Traveled and studied in Germany, Italy, France and Holland, and received numerous awards and medals throughout Europe. He later became a member of the Royal Academy of Art. Exhibited in Charlottenborg, Copenhagen, Vienna, Paris, Berlin, Munich, Lubeck, and many more.

Born August 29 1855, died November 28 1930. Son of Frants Christian Ludvig Henningsen and Hilda Christine Charlotte Schou. Married November 5 1886 to Mary Henriette De Dompierre de Jonquieres.

Erik Henningsen is always mentioned in the same breath as his older brother, painter Frants Henningsen. Both with their traditionally classic approach to realism, anecdotal undertones and bold use of dark colors, they were the most loved and celebrated illustrators of life and times; often depicting the hardships and trials of that day and age. One of Erik Henningsen’s large influences in his style and techniques, were Poets Schandorph and Drachmann, who are often accredited with the direction and approach Henningsen took in many of his works.

Henningsen is particularly famous for his “Thirsty Man” painting commissioned and used by one of the largest breweries in Europe, Tuborg. Tuborg Brewery has had their advertisement posters of the “Thirsty Man” dotted around Europe now for many decades. It is still the most recognizable image for Tuborg beer.

Henningsen was often commissioned to do historical and genre paintings, such as the great depression, or the socially distinct lines between nobility and the working class. His paintings today adorn the halls and rooms of numerous castles, manors, and museums around Europe. His works are also published in many art books, and are frequently the focus of study for many art students.

Loved and admired for his talent to realistically portray life and tell a story at the same time, Henningsen took great pride to never include any personal feelings or philosophy, but to stay neutral to the subject matter for whichever painting he was doing.