Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 224 works by Vilhelm Hammershøi in our catalogue
In short
Interior, Strandgade 30 (1909) is the Vilhelm Hammershøi painting that draws the most eyes. After it, the eye goes to Montague Street in London (1906) and Figure of a Woman (1888). Among the 224 works of Vilhelm Hammershøi in our catalog, these 100 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
A Masterpiece of Danish Art Vilhelm Hammershøi's 'Interior, Strandgade 30' is a captivating oil on panel painting that embodies the essence of Danish art from the early 20th century. Created in 1909, this masterpiece measures and is a testament to Hammershøi's unique ability to capture the quiet beauty of everyday life. The painting is a black and white depiction of a woman sitting in a chair next to a window,…
To encounter Vilhelm Hammershøi’s Montague Street in London is to step into a realm where time itself seems to have paused, caught in a delicate suspension between reality and a dream. Created in 1906, this exquisite oil on panel painting serves as a profound meditation on the beauty of stillness. The scene presents an empty London street, stripped of the frantic energy typically associated with urban life. Instead, we are…
In this 1888 oil on canvas, we encounter Figure of a Woman, a quiet portrait by the Danish artist Vilhelm (Hammershøi)Hammershoi. The work captures a solitary female figure, presented in a moment of stillness that feels almost suspended. It is a study of presence and domesticity, rendered with a restraint that defines the artist's approach to the human form.
To gaze upon Vilhelm Hammershøi’s Interior with the Artist's Easel is not merely to observe a room; it is to slip into a state of profound, almost sacred stillness. This oil on canvas, dating from 1910, captures the essence of late nineteenth and early twentieth-century Danish domestic life, yet elevates it far beyond mere genre painting. Hammershøi possessed an unparalleled gift for rendering silence visible—a palpable quietude that seems to…
A single room becomes a stage for quietude in this 1901 composition. A woman sits at a desk, her form partially illuminated by a soft halo of light filtering through a window behind her. The space is defined by a muted palette of creams, browns, and pale greens, creating an atmosphere of profound silence. Beside her, an empty chair sits in shadow, while a dining table rests in the background,…
To gaze upon Vilhelm Hammershøi’s depiction of St. Peter's Church in Copenhagen is not merely to observe architecture; it is to enter a hushed, contemplative space suspended outside the rush of modern life. Painted in 1906, this oil on canvas captures the enduring spirit of Danish craftsmanship blended with an almost ethereal sense of stillness. The composition immediately draws the eye upward, following the vertical thrust of the steeple and…
Moonlight, Strandgade 30 emerges from the canvas as a quiet meditation on a private world. Painted by Vilhelm Hammershøi, this oil on canvas captures the unadorned interior of the artist's own apartment in Copenhagen. The scene looks out toward a windowed loggia, where the pale light of the moon begins to settle into the room. It is a space defined by its stillness and the soft, muted tones of a…
In this 1907 oil on panel painting, a woman named Ida Hammershøi sits at a table, her form positioned slightly off-center. She is captured in a moment of stillness, holding a cup and spoon as she gazes into the distance. A white cloth covers the table, providing a bright contrast to the muted tones of the surrounding space. The background remains largely undefined, composed of dark, receding shades that focus…
A stillness settles over the room, a silence so heavy it feels tangible. Through a large, multi-paned window, shafts of winter sunlight pierce the dimness, cutting diagonally across the space. In these beams, tiny particles of dust dance in a slow, rhythmic motion, visible only because the light catches them in their descent. The room itself feels suspended in time, an empty interior in a 17th-century apartment in the Christianshavn…
In the quietude of 1888, Vilhelm Hammershøi captures a moment of domestic stillness in his work, Young Girl Sewing. Anna Hammershoi, the Artist's Sister. The scene centers on Anna Hammershøi, the artist's sister, who lived from 1866 to 1955. She sits absorbed in her task, her presence filling the space with a sense of focused, private labor. There is a weight to her concentration, a stillness that suggests the world…
From the British Museum, Winter1906
12
Four Rooms, Interior from the Artist's Home, Strandgade 251914 · Ordrupgaard
13
Sunshine in the Drawing Room III1903 · Nationalmuseum
14
A Greek Relief in the Louvre1891 · Ny Carlsberg Glyptotek
15
Interior with Ida Playing the Piano - Vilhelm Hammershøi2026
16
Interior tate gallery1899 · National Gallery
17
Untitled (566)
18
Nude Female Model1884 · Statens Museum For Kunst
19
Portrait of Young Woman, The Artist's Sister, Anna Hammershoi1885 · Hirschsprung Collection
20
Frederikke Hammershøi, the artist's mother1886
21
Malerinden Elisabeth Wandel1890 · Statens Museum For Kunst
22
Ida Ilsted, the Artist's Fiancée1890 · Statens Museum For Kunst
23
Evening in the Drawing Room. The Artist's Mother and Wife1891 · Statens Museum For Kunst
24
The art historian Karl Madsen, later Director of Statens Museum for Kunst1890 · Statens Museum For Kunst
25
The Painter Kristian Zahrtmann1889 · Statens Museum For Kunst
26
Ida Ilsted, the Artist's Wife1890 · Nationalmuseum
27
An Old Woman1886 · Hirschsprung Collection
28
Frederikke Amalie Hammershøi, f. Rentzmann, kunstnerens moder1894 · Statens Museum For Kunst
29
Portræt af fru Thora Bendix (Anne Victoria, f. Sundberg)1896 · Statens Museum For Kunst
30
Komponisten Fini Henriques1896 · Statens Museum For Kunst
31
Maleren Svend Hammershøi, kunstnerens broder1897 · Statens Museum For Kunst
32
The Artist's Wife, Ida Hammershøi, née Ilsted1894 · Statens Museum For Kunst
33
Vilhelm Hammershøi1895
34
Interior with a View of an Exterior Gallery1903
35
Ida in an Interior with Piano1901
36
Portrait of Svend Hammershøi, the Artist´s Brother1901 · Statens Museum For Kunst
37
Henry Madsen1904 · Statens Museum For Kunst
38
J.F. Willumsen1901 · Statens Museum For Kunst
39
Henry Madsen1904 · Statens Museum For Kunst
40
The Architect Thorvald Bindesbøll1904 · Statens Museum For Kunst
41
A Room in the Artist’s Home in Strandgade, Copenhagen, with the Artist’s Wife1902 · Statens Museum For Kunst
42
Aften i stuen1904 · Statens Museum For Kunst
43
Interior with a Reading Lady1900 · Nationalmuseum
44
A room. The corner of a room with walls painted grey-lilac, divided into panels.1903
45
The Coin Collector (study)1904
46
Interior with Ida in a White Chair1900
47
Interior with the Artist's Wife1910 · National Museum of Art, Architecture and Design
48
Ida Hammershøi, the Artist's Wife, with a Teacup1907 · Statens Museum For Kunst
49
Self-Portrait (1911)1911
50
Interior with Ida Playing the Piano1910 · National Museum of Western Art
51
Self-Portrait at Spurveskjul1911 · Metropolitan Museum of Art
52
Open Doors (also known as White Doors)1905
53
Interior, Strandgade 251915
54
Interior with the Artist's Mother and Sister1889 · Nationalmuseum
55
Interior, Bredgade1911
56
Interior1899 · Tate Gallery
57
Self-Portrait1890 · Statens Museum For Kunst
58
Landscape in the Snow1895 · Hirschsprung Collection
59
Sunshine in the Drawing Room (Solskin i dagligstuen)1910 · National Gallery of Canada
60
Three Young Women1895
61
Portrait of Ida, the Artist1898 · National Gallery of Denmark
62
Interior. Strandgade 301906 · Tate Gallery
63
View of Refsnæs1900
64
Interior with a Woman at a Sewing Table1897 · Nasjonalgalleriet
65
Young Girl Pouring Tea - the Artist's Sister.1884
66
Study showing the back of a boy.1884
67
Study of Standing Woman, Seen from Behind1884
68
The Farm1883
69
Landscape with Barn1883
70
Study drawing of plaster cast of ancient Greek Aphrodite, toss from c. 500 BC1880
71
Bedroom (Interior)1890
72
View from Frederiksholms Kanal, Copenhagen.1892
73
Landscape on the Island of Falster1891 · Statens Museum For Kunst
74
View of Jægersborg Allé. Gentofte, North of Copenhagen1892 · Statens Museum For Kunst
75
Dagligstuen på Frederiksberg Allé1887 · Statens Museum For Kunst
76
Rainy summer landscape from Virum near Frederiksdal.1888
77
View of Christiansborg Castle, Late Autumn1890 · Statens Museum For Kunst
78
Interior with Ida in a White Chair1890 · Ordrupgaard
79
Portrait of Ida Ilsted, Later the Artist's Wife1890 · Statens Museum For Kunst
80
Self-Portrait1891
81
Interior in Louis Seize style. From the artist's home. Rahbeks Allé1897 · Hirschsprung Collection
82
Karen Bramsen1898
83
Interior1893
84
Interior wit a Young Man Reading1898 · Hirschsprung Collection
85
Interior1898 · Nationalmuseum
86
Cello Player1893
87
Two Figures, The Artist and His Wife1898
88
Figures by the Window1895
89
Artemis1894 · National Gallery of Denmark
90
White Doors, Strandgade 301899 · Ordrupgaard
91
Sunny Parlor.1901 · Alte Nationalgalerie
92
The Coin Collector1904 · National Museum of Art, Architecture and Design
93
Forstudie til "Solregn. Gentofte Sø"1903 · Statens Museum For Kunst
94
Five Portraits. Study for painting in Thielska Galleriet, Stockholm1901 · Statens Museum For Kunst
95
Interior with the artist's wife seen from behind.1901
96
Interior with the artist's wife Ida in their home at Strandgade 30.1905
97
Dunkebakke, Frederiksværk1904
98
Interior, Strandgade 301899
99
Interior with Punchbowl1904
100
Interior, Frederiksberg Allé1900
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Vilhelm Hammershøi | Paintings from this list |
|---|---|---|---|
 Statens Museum For Kunst |
Copenhagen | 42 | Figure of a Woman, Interior with the Artist's Easel, Interior from Strandgade with Sunlight on the Floor |
 Nationalmuseum |
Stockholm | 7 | Sunshine in the Drawing Room III, Ida Ilsted, the Artist's Wife, Interior with a Reading Lady |
 Hirschsprung Collection |
Copenhagen | 5 | Portrait of Young Woman, The Artist's Sister, Anna Hammershoi, An Old Woman, Landscape in the Snow |
 Ordrupgaard |
Gentofte | 5 | Sunbeams (also known as Sunshine. Dust Motes Dancing in the Sunbeams), Four Rooms, Interior from the Artist's Home, Strandgade 25, Interior with Ida in a White Chair |
 National Museum of Art, Architecture and Design |
Oslo | 3 | Interior with the Artist's Wife, The Coin Collector |
 National Gallery of Denmark |
Copenhagen | 3 | Portrait of Ida, the Artist, Artemis |
 Ny Carlsberg Glyptotek |
Copenhagen | 2 | Montague Street in London, A Greek Relief in the Louvre |
 Metropolitan Museum of Art |
New York | 2 | Moonlight, Strandgade 30, Self-Portrait at Spurveskjul |
Pick a decade to see the original that defines it.
In this 1888 oil on canvas, we encounter Figure of a Woman, a quiet portrait by the Danish artist Vilhelm (Hammershøi)Hammershoi. The work captures a solitary female figure, presented in a moment of stillness that feels almost suspended. It is a study of presence and domesticity, rendered with a restraint that defines the artist's approach to the human form.
In the hushed corridors of art history, few works possess the ability to arrest the viewer with such profound stillness as Vilhelm Hammershøi’s “A Greek Relief in the Louvre.” Completed in 1891, this oil on canvas is far more than a mere depiction of museum-goers; it is an invitation into a realm of quiet introspection. The painting presents three women positioned before a wall, an arrangement that deliberately mirrors the…
A Masterpiece of Danish Art Vilhelm Hammershøi's 'Interior, Strandgade 30' is a captivating oil on panel painting that embodies the essence of Danish art from the early 20th century. Created in 1909, this masterpiece measures and is a testament to Hammershøi's unique ability to capture the quiet beauty of everyday life. The painting is a black and white depiction of a woman sitting in a chair next to a window,…
To gaze upon Vilhelm Hammershøi’s Interior with the Artist's Easel is not merely to observe a room; it is to slip into a state of profound, almost sacred stillness. This oil on canvas, dating from 1910, captures the essence of late nineteenth and early twentieth-century Danish domestic life, yet elevates it far beyond mere genre painting. Hammershøi possessed an unparalleled gift for rendering silence visible—a palpable quietude that seems to…
Interior, Strandgade 30 (1909). Montague Street in London (1906) and Figure of a Woman (1888) come next.
45 years old: Interior, Strandgade 30 dates from 1909, and Vilhelm Hammershøi was born in 1864.
Interior, Strandgade 30, Montague Street in London, Figure of a Woman, Interior with the Artist's Easel, Interior from Strandgade with Sunlight on the Floor, St. Peter's Church, Copenhagen, Moonlight, Strandgade 30, Ida Hammershøi, Sunbeams (also known as Sunshine. Dust Motes Dancing in the Sunbeams) and Young Girl Sewing. Anna Hammershoi, the Artist's Sister. The ranking above gives each one's year and museum.
Our catalog holds 224 works by Vilhelm Hammershøi, dated from 1880 to 1915.
Mostly in Statens Museum For Kunst (Copenhagen), Nationalmuseum (Stockholm) and Hirschsprung Collection (Copenhagen). The museum table above lists them all.
In 1890s: 38 of the 100 works on this page were made then, A Greek Relief in the Louvre among them.
On this page, the earliest is Study drawing of plaster cast of ancient Greek Aphrodite, toss from c. 500 BC (1880) and the latest Interior, Strandgade 25 (1915).
Interior (15), Danish art (13) and Window (6), across the 100 works on this page.
Oil On Canvas, for 17 of the 100 works on this page.
Symbolism, judging by the originals on this page.
Figure of a Woman, Interior with the Artist's Easel and Interior from Strandgade with Sunlight on the Floor: the Statens Museum For Kunst, Copenhagen holds 31 of the works on this page.
To stand before a painting by Vilhelm Hammershøi is to step across a threshold into a realm suspended between memory and dream. His work possesses an almost palpable silence, a quietude that seems to absorb the noise of the modern world. Born in Copenhagen in 1864, this Danish master developed a visual language so distinct, so profoundly atmospheric, that it continues to captivate collectors and critics alike today. Hammershøi’s canvases are not merely depictions of rooms or figures; they are meditations on absence, light, and the delicate passage of time.
His early life was rooted in the cultural milieu of late 19th-century Copenhagen, a period ripe with artistic ferment. While he navigated the currents of academic art, his true calling lay in capturing moments of profound introspection. His dedication to interior spaces became legendary, transforming domestic settings into grand stages for psychological drama. The muted tones—the soft grays, the pale creams, the whisper of dusty ochre—are hallmarks that define his unique visual signature.
The technical brilliance underpinning Hammershøi’s seemingly simple scenes is nothing short of masterful. He possessed an unparalleled ability to render light not as a mere illumination, but as a tangible, atmospheric element itself. In his depictions of empty hallways or sparsely furnished drawing rooms, the quality of the light seems to emanate from within the paint, suggesting unseen sources and untold narratives. This preoccupation with atmosphere elevated his work beyond simple genre painting; it became an exploration of mood.
His compositions often feature receding perspectives, drawing the viewer deep into the painted space, only to have that depth ultimately dissolve into a soft, ambiguous haze. Whether portraying solitary figures—often veiled or seen from the back—or simply empty architectural volumes, the sense of enclosure and quiet contemplation is overwhelming. It is in this careful management of negative space that his genius resides; the emptiness itself becomes the most eloquent subject.
Hammershøi’s art has always been deeply intertwined with Symbolist currents, even if he never strictly adhered to the movement's dogma. His paintings invite viewers into a space of ambiguity. The figures, when present, often seem detached from their surroundings or lost in thought, suggesting an internal life far richer than what the canvas portrays. There is a pervasive sense of melancholy beauty—a sublime yearning that speaks to universal human experiences: solitude, memory, and the passage of time.
Some scholars have interpreted his work as a visual diary of his own emotional landscape, a retreat into the controlled environment of art when the external world proved too loud or complex. The repetition of motifs—the curtain, the empty chair, the distant window view—lends his oeuvre a ritualistic quality, suggesting that these quiet moments were necessary anchors against the flux of existence.
Though he passed away relatively young in 1916, Vilhelm Hammershøi’s influence proved remarkably enduring. His commitment to understatement and tonal subtlety provided a crucial counterpoint to the bolder palettes emerging from other contemporary movements. His work resonated deeply with modern sensibilities that valued introspection over overt narrative.
Today, his paintings are sought after for their ability to transform any space they inhabit. They do not shout; they whisper profound truths about beauty found in restraint. To appreciate Hammershøi is to accept the poetry of the unsaid, to find grandeur in the muted tones, and to allow oneself to become momentarily lost within the exquisite, enveloping silence of his painted worlds.
