Art collection

Brazil, Campos Das Vertentes 80 % / Colombia 20 %

The biography and creative work of Jānis Rozentāls (1866–1916) vividly affirm the growing social and national self-awareness among Latvian artists at the turn of the 19th and 20th centuries.

The painter first gained broad recognition at home in 1896 during the Latvian Ethnographic Exhibition, alongside his nationally patriotic contemporaries from the “Rūķis” circle, who championed the idea of serving their people and portraying their lives through art.

Along with Vilhelms Purvītis and Johans Valters, Rozentāls was one of the few contemporaries who brought Latvian visual art closer to the horizons of Europe’s major art centers around 1900.

In the Impressionist domestic scene On the Terrace (Veranda in Capri), a moment is captured on the island of Capri—beloved by writers, artists, and travelers. In the summer of 1912, it was one of the final stops on the painter's journey through Italy with his wife, Elli.

In a pergola shaded by climbing plants and protected from direct sunlight, vacationers are depicted in an intimately idyllic setting, enjoying a meal. In the foreground, seated at one of the white-covered tables, the artist has painted himself and Elli dressed in light-colored clothing.

Elli, a Finnish mezzo-soprano, had studied singing in Italy before their marriage. On this journey, she returned not only as an artist’s companion, model, and mother of their three children, but as someone deeply woven into his creative life.

The composition, built in fragments, carries the freshness of a study painting—carefree and light in mood, rich in color, and glowing with aestheticized tones, all suffused with shimmering reflections of plein-air light.

Rozentāls modeled the forms with painterly sensitivity, using dynamic and varied single-stroke brush techniques. The signature and date are notably accompanied by the place of creation—“Jan Rosenthal Capri / 1912”—a rare inclusion in his oil paintings.

Brazil, Campos Das Vertentes 80 % / Colombia 20 %

The artist Niklāvs Strunke (1894–1966) is credited by the poet Aleksandrs Čaks and other contemporaries with introducing the Italian greeting “ciao” to Riga.

While his peers were rushing off to Paris, the most famous “Latvian Italian” lived in Rome, on the island of Capri, and in Florence from 1923 to 1927, also traveling through Venice, Tuscany, the Bay of Naples, and the Amalfi Coast.

In the Eternal City, captivated by Italy, the pittore lettone rented a studio near the Vatican; in Florence, he settled in the old town of Oltrarno; and on Capri, he stayed on the Marina Grande side.

The interwar years spent in Italy had a profound influence on the original artistic expression of this versatile Latvian modernist and apprentice of the old masters.

With its stripped-down, abstracted composition, harmonious proportions and rhythm, and vibrant local color, the small painting Sorrento (1924–1925), executed on a wooden panel, stands as an icon of Strunke’s easel painting and his “Latvian Italian” identity.

During his Italian period, Strunke’s artistic style became a distinctive fusion of modernist geometrization and inspiration drawn from Italian primitivism.

KALVE Coffee continues to celebrate the achievements of legendary masters of Latvian visual art, this time dedicating its most relevant Toffee espresso blend to the pioneer of Latvian modernism, Jāzeps Grosvalds.

Jāzeps Grosvalds, known as Joe among his family and friends, is one of the most prominent figures in Latvian art - not only classical modernism pioneer , but also the originator of several nationally important topics that formed the basis for the modern art of the newly independent country of Latvia.

In August 1913, Joe and his brother Olgert went on a trip to Spain, where they visited several cities including Barcelona, Madrid, Toledo, Cordoba, Seville and Granada. In the city of Seville, the artist was in a constantly excited mood and he felt like he was in a real oriental fairy tale. He was particularly fascinated by the gardens of the Alcázar Palace: “Everywhere flowers – rose and almond blossoms and soft, perfumed air; decoration for the Arabian Nights,” Joe writes in his diary. The teeth of the medieval towers behind the mimosas curtain or rose net and the former minaret or Hiralda tower between palm trees on dark blue sky background – this is the visual formula that allowed Grosvalds to become aware of color the role of expression, their emotional and aesthetic effects, which will appear so strongly in his later works.

Artwork: Jāzeps Grosvalds. Alcazar garden in Seville. (1913, collection of the Latvian National Museum of Art)

"I have always yearned to return to nature. If only I could stay there, take root in the forest floor from autumn through winter, perhaps death would not seem so terrifying."

The artwork addresses the fear of death through Latvian oral folklore and the ecological
aspects of death. The artist aims to create a space where death is recognised as a normal, albeit unpleasant, part of life.

This interdisciplinary composition serves as a meditation on the fear of death. The
mythological forest depicted in the painting establishes a sense of a location suspended between life and death, in space and time. Accompanying scents and sounds enhance the atmosphere, evoking associations with nature that feel slightly off, resulting in an uncanny mood. Viewers are invited to immerse themselves in this environment and explore their feelings regarding mortality.

At ''Laundry House'' fashion meets function with clothing from the local brand '' Backdoor Market''. Known for its high-quality streetwear, Backdoor Market combines innovative designs with a commitment to sustainability, setting new standards in the local streetwear community. 

This pop-up store isn't just a shopping destination; it's a vibrant community hub. Each weekend ''Laundry House'' transforms into a lively space with aperitivo nights, showcasing the best local DJs who are not just performers but special friends of the house. These events create an atmosphere where music, fashion, and good vides unite people. 

Join us at ''Laundry House'' where love, peace, streetwear and coffee come together in a celebration of community and culture! 

KALVE's dedication to Felicita Pauļuka and past exhibition at the Latvian National Museum of Art, "IN THE NAME OF DESIRE", where the diversity of themes related to sexuality and sensuality in the history and present of Baltic visual arts is highlighted.

With this dedication, KALVE wishes to celebrate human diversity, unique inner and outer beauty, and the individual life stories of each of us!
It is important for us to build and be part of an inclusive society that is free from stereotypes and prejudices and is based on mutual respect, openness, and empathy.

Felicita Pauļuka (1925–2014) established the tradition of Latvian pastel painting in the second half of the 20th century and is known as one of the most outstanding portrait and nude painters in Latvian art. The artist herself emphasizes that there are no significant differences between a portrait and a nude in her painting, as the nude is an extension of the portrait. In Felicita's words: "The human body expresses not only the exterior but also the deeper essence, just like the face. The hands and feet also have their own life story. Therefore, for me, the nude is an extended portrait, involving the entire body and expressing the essence of a person."

Artwork: Felicita Pauļuka. Nude. Žanna II. 1973. Paper, pastel. 73.5x102. LNMM collection

Origin: Colombia
Region: Risaralda
Producer: Smallholder farms
Altitude: 1400-1700 meters above sea level
Variety: Castillo, Colombia, Caturra
Process: Washed
Roast level: Medium roast
SCA Score: 83.25 points

Awaiting the winter solstice, KALVE wishes to highlight and honor our Latvian traditions - Ķekatas or Mummery. In our view, Ķekatas were and still are a magical and important ritual for Latvian identity, bringing goodness, joy, and fertility.

The motif of ĶEKATAS  coffee is warmly wrapped in motif of Anna Eltermane's tapestry "Ķekatas in My Childhood Days" (1982, DMDM collection), where, shimmering like stars in the dark winter sky, in a night vision from house to house, in a dynamic rhythm, goat, rooster, sheep, bear, and stork disguised as ķekatnieki, set out to bring blessings and drive away evil spirits.

Anna Eltermane (1929–2009) grew up in Rucava, a region with ancient and strong traditions of folk craftsmanship, labor, and seasonal customs. The artist acquired weaving skills at the Liepāja School of Applied Arts. She continued her education at the Latvian Academy of Arts, where she explored the world of black and white graphics but later turned to theatrical painting and set design. After completing her studies, she returned to Liepāja and resumed weaving, drawing inspiration from nature and folklore motifs. In her tapestries, the splendor of meadow flowers, rural everyday life, and festive events come to life, including ancient solstice rituals.