The Apple Harvest - Carl Larsson
Archival giclée
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Description
A charming watercolour by Carl Larsson depicting a peaceful autumn apple harvest in the garden of his Swedish family home.
Carl Larsson, a central figure in Swedish art at the turn of the twentieth century, produced this watercolour as part of his celebrated series depicting life at Lilla Hyttnäs, his family home in Sundborn. The scene captures a quiet, domestic moment during the autumn fruit collection. A woman in a blue dress stands in the middle distance, while a child in a red cap and blue coat occupies the foreground, engaged with the harvest. A wooden ladder leans against a heavy-laden apple tree, suggesting the practical nature of the task.
Larsson employs a clear, linear style that draws upon the aesthetic principles of the Arts and Crafts movement. The composition balances the open space of the meadow with the detailed foliage of the orchard. His use of watercolour allows for a light, airy quality, particularly in the treatment of the grass and the soft sky. The red timber building visible in the background provides a characteristic touch of Swedish vernacular architecture, grounding the scene in its specific geographical context. The work avoids excessive sentimentality, focusing instead on the rhythmic, seasonal activities of rural life. The lines are precise, defining the forms of the trees and the figures without obscuring the transparency of the medium. This piece reflects the artist's interest in domestic harmony and the beauty found in everyday chores, presented with a clarity that remains accessible and visually engaging. The palette is dominated by natural tones, with the green of the orchard and the muted reds of the fruit and architecture creating a balanced, seasonal atmosphere.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Apple Harvest - Carl Larsson
Artist Biography
Carl Larsson
He struggled for years, working as an illustrator and retoucher of photographs while trying to establish himself as a painter. In 1882, at an artists' colony in Grez-sur-Loing outside Paris, he met the artist Karin Bergoo. They married, and everything changed. The watercolours he began painting in Grez were lighter, more fluid and more personal than anything he had produced before.
In 1888 Karin's father gave them a small house called Lilla Hyttnas in Sundborn, a village in Dalarna. The house became their joint project: Carl painted it, Karin designed the interiors, the furniture, the textiles, the colour schemes. The result was one of the most influential domestic interiors in Scandinavian design, a prototype for what would eventually become Swedish modernism. He painted the house and the family inside it (they had eight children) in watercolours that were published as a book, Ett Hem (A Home), in 1899. It sold across Europe.
The paintings of Sundborn are warm, bright and apparently effortless, which made people assume his life was too. It was not. He suffered depression in his later years and had a stroke in 1919. His most ambitious painting, Midvinterblot, a monumental canvas of a Viking midwinter sacrifice, was rejected by the National Museum. He admitted in his memoirs that the pictures of his family and home had become the most lasting part of his work. He was right.
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